“Because your song is ending, sir…It is returning. It is returning through the dark. And then, Doctor? Oh, but then… He will knock four times.”
Cos he’s special, David Tennant got to spread his farewell over 4 specials from Christmas 2008 to New Year 2010, and as this also marked Russell T Davies’ departure from the show, the stories start off grand and rise to operatic scales of drama by the time we hit the megalithic The End of Time. That finale works well in its quieter moments but does suffer a little from an overabundance of plot and whatnot. The Next Doctor and Planet of the Dead are good value for money romps but it is The Waters of Mars and all its attendant darkness that stands out most, teasing all the complex arrogance of a God-figure gone wrong. Continue reading “Countdown to new Who: Doctor Who Specials 2008-2010”
“You took my shopping and then you took my virginity”
Oh lordy, I have no idea what Noel Clarke is like as a person but on this evidence he is in desperate need of someone to tell him ‘no son, no’. Having shown promise with his earlier work, 220.127.116.11. sees Clarke moving onto what he sees as the next level , it just so happens that it is the next level down rather than up. A brash would-be comedy thriller that dreams so dreadfully of transatlantic success and yet comes off as exploitative try-hard, depressingly manipulative and a laughable vanity project.
Even at its base, it is a disappointment. The structure of the film follows four young friends as they deal with a particularly hectic time involving some gangsters and a bag of conflict diamonds they’ve nicked. Clarke retells the story from each woman’s point of view, a tried and tested device, but one which is wasted here – the narratives are kept essentially separate with no sophisticated intersection or interplay in the storytelling that would actually justify the format. Continue reading “DVD Review: 4321”
“There’s something about Fanny I’ve often observed”
This being my first experience with Mansfield Park, I can’t really talk about it as an adaptation (although it was impossible to avoid the opprobrium it seems to have evoked) but even as a standalone piece of drama, it can’t help but disappoint. Maggie Wadey’s writing lacks any real sense of the carefully constructed literary world of Jane Austen and Iain B MacDonald’s direction has a very loose sense of time and self, clearly straining for a connection with a contemporary audience but in doing so, losing sight of the story it is trying to tell.
Billie Piper’s Fanny, sent to live with her rich aunt (a distracted Jemma Redgrave) and uncle (a delightfully brusque Douglas Hodge) and whilst initially feeling out of place – “I was the poor relation and was made to feel it” – builds a place for herself as an indispensable member of the household. But with her tousled sun-bleached hair and entirely modern ways, she just doesn’t convince as a historical heroine. She’s not helped by a scarcely-there plot in which little of consequence seems to actually happen, it’s all just so uneventful. Continue reading “DVD Review: Mansfield Park (2007)”
“You should have known by now you’d every cause to doubt me”
Rufus Norris’ restaging of Cabaret was a big hit a few years back (although I never quite managed to make the trip) and it now receives a revival which has toured the UK (where most of my family caught it at the Lowry before me, how very dare they!) in advance of arriving at the Savoy Theatre. Given the high-profile nature of the show, it seems surprising that the lead casting comes somewhat out of left field – the part of the Emcee is taken on by Will Young and the iconic role of Sally Bowles by Michelle Ryan – and it is a gamble with varying results.
Young actually fits this production like a glove. His sinister, rapacious air as he manipulates the Kit Kat club in a striking rendition of Tomorrow Belongs to Me never lets us forget that this is no light-hearted piece of musical theatre fluff but a snapshot of a highly disturbing moment in world history as the German population fell under the spell of Nazism. Kander + Ebb’s deliciously dark musical was based on John Van Druten’s I Am A Camera which could be recently seen in glorious form at Southwark Playhouse, but that in turn was based on Christopher Isherwood’s short story Goodbye to Berlin, his semi-autobiographical account of living in 1930s Germany. Continue reading “Review: Cabaret, Savoy”
“We need have some boundaries…”
This isn’t a review of this show, Contact U.K., as it was a table reading of this new play by Michael Kingsbury which took place at the Studio on the top floor of the Soho Theatre, but more of a note for myself for completeness to my record of theatre-going and also, hopefully, the smugness I can have when/if this show makes it to the stage: I can say that I filled out a rather amusing feedback form and helped shape its progress!
I can’t deny that the cast involved played a big part in me wanting to attend to: Tara Fitzgerald is just wonderful full stop, Michelle Ryan is proving herself to be quite the versatile actress and Rupert Graves has a special place in my period-drama loving heart (hello Maurice!). Iain McKee made up the fourth cast member, recognisable to those of you who’ve seen Channel 4’s The Promise and we even got some bonus John Sessions as the narrator which was a pleasant surprise. Continue reading “(Not a) Review: Contact U.K., Soho Theatre”