The best TV show of the year? Definitely so far…Michaela Coel’s I May Destroy You is just superb
“Just look in the mirror, you know what I mean? It’s really uncomfortable and unnerving for everyone”
Has ‘the grey area’ ever seemed so interesting? Probing into the complexities of real life and fully embracing the fact that there are rarely ever any simple answers, Michaela Coel’s I May Destroy You has felt like a real breath of bracingly fresh air.
Sexual consent for straights and gays, dealing with trauma on a personal and institutional level, the perils of buying into social media hype, portraying the scale of casual sex and drug use whilst acknowledging its inherent pitfalls, examining how we bury memories from both the recent and distant past and that’s just scratching the surface. Continue reading “TV Review: I May Destroy You”
The superlative Michaela Coel looks to have absolutely nailed with new TV show I May Destroy You
“How did last night end?”
I mean we knew I May Destroy You would be good but damn, it’s really good. Even on the evidence of episodes 1 & 2 which have just been released by the BBC, Michaela Coel – whose credits here include executive producer, co-director, star, and writer – looks set to thoroughly invigorate our TV screens as she breathlessly tackles, well, pretty much the whole of contemporary society.
At the top of it, I May Destroy You is a drama about consent, though it is immediately clear that Coel’s canvas and the scope of her ambition is much larger than that. It blends just as much comedy as tragedy into its playfully inventive structure. And though the hook is Coel’s Arabella – a 30-something London-based writer – trying to piece together the memories of a night where her drink was spiked and she was sexually assaulted, there’s so much more about the lives of young Black British people filled out along the way. Continue reading “TV Review: I May Destroy You, Episodes 1 & 2”
“Donna Noble has left the library. Donna Noble has been saved”
And here we are, my favourite series of Doctor Who. So much huge wonderfulness and even its less good moments are still more than halfway decent. Key to the series’ success is Catherine Tate’s Donna Noble – gobby and one-dimensional in her introductory episode the Christmas special The Runaway Bride, her character journey throughout this season is magisterially constructed, a true awakening of self (with thankfully no romantic inclinations towards our Time Lord) and one given unbearable poignancy due to its frustratingly tragic end.
It’s also one of the best constructed series in terms of its over-arching season arc, its warnings and clues layered meaningfully into several stories and building into a momentous and properly climactic finale, which lands just about the right level of grandiosity. There’s also the first companion-lite episode (the superbly creepy Midnight) to go with the Doctor-lite one (the achingly beautiful dystopian Turn Left); a typically brilliant Moffat double-header in Silence in the Library and Forest of the Dead with gorgeous work from Alex Kingston as the soon-to-be-hugely-significant River Song; and if the return of Rose undoes some of the emotional impact of the Series 2 finale, Billie Piper’s work is spikily powerful. These are episodes I can, and have, watched over and over again.
Continue reading “Countdown to new Who: Doctor Who Series 4”
Another Icelandic short (it’s a slippery slope once I start on these things…) and this time it’s a jet black comedy. Hrefna Hagalín and Kristín Bára Haraldsdóttir’s Knowledgy follows a naïve Icelandic couple as they get suckered into an LA-based cult by the charismatic leaders (and the example of Ashton Kutcher). Following their every move is their lodger who is filming their story for his film project and provides an excellent external view into this ever-darkening tale.
Another short and sharp clip, James Spinney’s Audiobook is a wryly funny look at the recording of an actor’s memoirs. Daniel Ings’ arrogant Aussie is a volatile presence who threatens to completely overwhelm Oliver Stevens’ young sound technician with his over-inflated and easily-pricked ego. Stevens also wrote the film, which may be short but has a punchy sense of humour about it.
Eddie Loves Mary
A dinky little thing, Hannah Rothschild’s Eddie Loves Mary is a lovely sweet-natured film that wears its sentimental heart proudly on its sleeve. Kevin McNally and Gina McKee lead the cast but there’s a host of brief appearances from familiar faces like Steven Mackintosh, Anna Maxwell Martin and Stephen Mangan as we get closer to the mystery of who is spray-painting Eddie Loves Mary all over the place.
Ivan Madeira’s Grow Up serves as a really nice companion piece to Kate Tempest’s Wasted starring as it does Cary Crankson who appears in both. Grow Up is the precursor, a 10 minute blast through the trials of getting through the mundaneness of young adulthood and the onset of real life and responsibility. Lots of fun and full of astute observations.
I’m the headless hunter of Honfleur, I’m the strangled Sister of Soissons, I’m the noseless Nun of Nantes”
Those who know me will attest to how firmly I tend to hold my preconceptions, but I do try to test them fairly regularly on the off-chance that a certain production might prove me wrong, if not about the whole genre then at least about that particular show. And despite its much-beloved status by the likes of Billington, Spencer et al, farce is one such genre of which I am no particular fan. I am one of the few who found One Man Two Guvnors painful in the extreme but I found myself tumbling easily for the charms of Noises Off, so whilst I might not ever call myself a fan of farce, I do know that it is impossible to lump them all together dismissively.
Which is a most long-winded way to say that I went to the Theatre Royal Bath to see Georges Feydeau and Maurice Désvallières’ A Little Hotel on the Side. Adapted by John Mortimer and directed by Lindsay Posner with an amazingly luxurious cast including the likes of Richard McCabe, Hannah Waddingham and Richard Wilson, it seems incredible that the run is just two weeks long but I would struggle to recommend dropping everything to try and see this. My only previous experience of Feydeau was with the Old Vic’s 2010 A Flea In Her Ear, which decidedly didn’t tickle my funnybone, and this felt far closer to that than to the delirious pleasures of Frayn’s backstage antics. Continue reading “Review: A Little Hotel on the Side, Theatre Royal Bath”
“It’s made me very particular about my hyphen”
Spoilers, spoilers, spoilers. One of the difficulties of writing about shows is the balancing act between trying to give enough information to give a palpable sense of a production without giving away too much of it to preserve as much of its revelatory nature as possible. Major plot points are frequently given away in reviews, especially of classics (which always strikes me as a little arrogant, this idea that because the reviewer has seen the play 60 times doesn’t mean that the reader necessarily has – I loved the surprises that King Lear held for me when I saw it for the first time last year), but then the act of writing about theatre lends itself to detailed analysis which can’t afford to be coy.
The plot of Sutton Vane’s 1923 play Outward Bound hinges on a major revelation, not so much in a whodunit sense but rather in the direction that the play then takes. It comes fairly early in the show and so when debating this issue, my companion thought it would be ok to mention it in the review, but reading the blurb on the production, the enigma is preserved and I think I prefer it that way round. But I suppose there’s then an element of me having my cake and eating it here – in not wanting to talk about ‘it’, I’ve flagged up its presence something rotten! But anyhoo, to the show in hand. Continue reading “Review: Outward Bound, Finborough”
“They can have us spooning and forking any time between breakfast and bedtime”
Continuing the 30th anniversary celebrations at the Finborough Theatre is the world premiere of a new play by Peter Nichols, Lingua Franca. The play is set in 1950s Florence, where Flowers gets a job teaching English at Lingua Franca, a shambolic language school housing a ragbag collection of individuals from across the globe, all struggling to come to terms with a new society in a Europe no longer at war, whilst luxuriating in the Florentine cultural bounty all around them. The programme informed me that the lead character Steven Flowers is also in one of his earlier plays, Privates on Parade, it made no difference to me not having seen that but there’s a neat bit of casting in that Ian Gelder who appears here in a different role, played that character in the original RSC production.
At the centre of the story is a love triangle of sorts: once Stephen has become accustomed to his new way of living, he throws himself into a life of gay abandon, whipping his classes up into a raucous frenzy of singalongs and chants as a different way of learning and having already caught the eye and rapt attention of repressed and depressed English Peggy, launches headlong into a passionate, physical affair with German Heidi. As Stephen, Chris New brings a wonderfully warm charm which makes it easy to see why so many women fall for him and plays the darker, crueller streak that comes as he ruthlessly pursues his sexual urges at the expense of all else equally well. Continue reading “Review: Lingua Franca, Finborough”