Now this is more like it, Series 2 of Spooks settles into the classic feel that works so well
“This ridiculous James Bondery…do we need it?”
With this second season, Spooks really gets into its stride I think, recognising that it is an ensemble show at heart (and a rolling ensemble at that, although it’s a shame new recruit Sam doesn’t get more to do) and nailing the variation in tone and style of episodes which largely remain self-contained. Also, Nicola Walker finally arrives as Ruth, which is good news for the audience, Harry and the nation.
Topics-wise, we touch on hacker kids, Irish republicanism, Islamic radicalisation and Anglo-American relations among others. But it is ‘I Spy Apocalypse’, written by Howard Brenton and brilliantly directed by Justin Chadwick with a smothering sense of claustrophobia that really gets the pulse racing as a fire drill for a terrorist incident gets very dark very quickly – it’s possibly one of the best ever episodes of Spooks.
Praise the Lord – analyst Ruth Evershed finally arrives in Episode 2 in all her long cardigans and flowing skirts and though initially viewed with suspicion coming from GCHQ as she does, she soon wins over the team with her knowledge of Greek mythology, Russian crucifixion practices and much more besides. Continue reading “Lockdown TV Review: Spooks Series 2”
A modern and moving take on Romeo and Juliet from the RSC at the Barbican
“I am too young. I pray you, pardon me”
It’s sometimes a little difficult to take seriously how old everyone is meant to be in Romeo and Juliet but Erica Whyman’s modern-day production for the RSC, playing in rep now at the Barbican, never lets you forget. She fills the stage with kids for a cacophonous prologue, Karen Fishwick’s Juliet rightfully feels like a child and in turn, Mariam Haque’s Lady Capulet (“I was your mother much upon these years that you are now a maid”) is a convincing 26, closer to her daughter in age than her husband, but emotionally distant from both.
It’s a pattern Juliet seizes the first chance to break when she meets Bally Gill’s charismatic Romeo, a young man very much still coming into his own. And you feel that it is the running away that appeals to her just as much as the running away together. For she’s all too aware that there are cycles of violence that the young’uns of this Verona can’t hope to escape – indeed what chance do they have when even all the adults around them carry and use knives to resolve even the smallest slight. Continue reading “Review: Romeo and Juliet, RSC at the Barbican”
Despite a cast including Christopher Eccleston and Niamh Cusack, this proves another disappointment of a Macbeth as the RSC start their Autumn residency at the Barbican
“Better health attend his majesty”
Its enduring popularity on school curricula means we will probably never be free of it but in a year when both the National Theatre and the RSC have swung and missed with modern takes on Macbeth, surely it is time to give it a rest. Rufus Norris’s post-apocalyptic production felt unmoored and lacklustre in the unforgiving Olivier and now taking up residency at the Barbican, Polly Findlay’s interpretation for the RSC similarly lacks clarity and intent.
There’s plenty of ambition here and it is tempting to see the influence of a certain Dutch auteur (barefeet actors, clocks counting down to deaths…). But the over-riding aspect of Findlay’s direction is its headlong speed as it hurtles through a cut-down version of the text. Too much has been sacrificed here in the name of accessibility with precious little time given to allow emotional beats to play out, for motivations to be understood, the hurly-burly rules. Continue reading “Review: Macbeth, RSC at the Barbican”
The full cast for the RSC’s upcoming production of Macbeth has been announced.
Christopher Eccleston, making his debut at Stratford-upon-Avon, as Macbeth and Niamh Cusack as Lady Macbeth had already been announced and will be joined by:
- David Acton (Duncan)
- Raphael Sowole (Banquo)
- Edward Bennett (Macduff)
- Bally Gill (Ross)
- Luke Newberry (Malcolm)
- Tim Samuels (Lennox)
- Mariam Haque (Lady MacDuff)
- Donna Banya (Donalbain/Gentlewoman)
- Stevie Basaula (Bloody Captain/Second Murderer),
- Katy Brittain (Doctor)
- Raif Clarke (Boy)
- Paul Dodds (Chamberlain 1)
- Michael Hodgson Porter)
- John Macaulay (Chamberlain/Lord)
- Tom Padley (First Murderer)
- Josh Finan (Company)
- Afolabi Alli (Company)
The production will be directed by Polly Findlay and runs at the Royal Shakespeare Theatre from 20 March to 18 September with previews from 13 March.
“There is only one way of treating men, with the iron hand … yield one demand and they will take six”
The list of the NT2000 top 100 plays is an interesting one, full of the sort of plays I wouldn’t ever have chosen to see and so using it as a guide to stretching my theatrical viewing has been illustrative. Which is a roundabout way of saying the latest play I wouldn’t necessarily have chosen for myself that I went to see was John Galsworthy’s 1909 Strife at the Minerva in Chichester, incidentally marking Bertie Carvel’s directorial debut.
Set around an industrial dispute at a Welsh tinplate works where a strike has been running for six months, Strife examines the stresses this places on all concerned. The workers, who don’t have the support of their union; the board, who have travelled from London to thrash out a compromise; and the firebrand leaders of each faction who might not be so different as all that, each equally stubborn in refusing to budge from their position. Continue reading “Review: Strife, Minerva”
“And when I stopped to look at what I’d done, suddenly I realised it was light – it was morning – time for work … And I was shaking – literally shaking – cos for the first time in me life I’d really achieved something …”
I spent an inexplicably long time resisting The Pitmen Painters, even though several people had recommended it to me but I was insistent that I wouldn’t like it, mainly because I thought it seemed too worthy. But after its highly successful runs at the National Theatre, on Broadway and a recent UK tour, it has now taken up shop in the West End at the Duchess Theatre and I finally succumbed to the lure of a ticket. And as the cries of ‘I told you so’ ring in my ears, somewhat predictably I really enjoyed myself with this sparky piece of writing from Billy Elliot scribe Lee Hall.
More accurately, I fell totally in love with it at the interval, the first half having moved me to tears on more than one occasion and being about as well written as I think anything could. The play is based on the true-life story of a group of gruff Northumbrian miners whose interest in painting, initially stoked by a less-than-successful art appreciation class, leads them to start creating their own art which, unexpectedly, over the coming years becomes highly regarded by the establishment. Continue reading “Review: The Pitmen Painters, Duchess”