Hugh Grant delivers a career best performance in the hugely enjoyable A Very English Scandal. Just don’t mention your National Insurance card.
“Tell him not to talk. And not to write to my mother describing acts of anal sex under any circumstances whatsoever”
I don’t think I’ve ever been chilled quite so much by the end credits of anything like A Very English Scandal. You know, that bit when you find out what happened next to the people who you’ve just been watching. It helps of course that I knew nothing about the 1970s Jeremy Thorpe affair on which it was based but still, never have 11 dogs and a missing NI card seemed so ominous.
Written by Russell T Davies, adapted from John Preston’s book, and directed by Stephen Frears, A Very English Scandal is a complete breath of fresh air. Perhaps surprisingly for a true-life tale of sex, politics and attempted murder, it has a quirky, almost jolly tone that is hugely enjoyable, deftly comic as it negotiates the would-be Machiavellian moves of a politician desperate to save his skin. Continue reading “TV Review: A Very English Scandal”
Episodes, in order of preference
World Enough and Time
The Doctor Falls
The Eaters of Light
Empress of Mars
The Pyramid at the End of the World
The Lie of the Land
Top 5 guest spots
1 David Suchet’s Landlord was as perfectly written a character as befits one of our more superior actors
2 Regular readers will know I’m a big fan of Kieran Bew and his astronaut in Oxygen was no exception
3 Nicholas Burns‘ malevolent Sutcliffe was a delightfully Dickensian villain
4 Another theatrical delight of mine is Anthony Calf, impressive as the pseudo-Victorian Godsacre
5 Rebecca Benson’s young Pict impressively led The Eaters of Light from the front, a perfect vessel for Rona Munro’s vision
Michelle Gomez’s Missy has been a brilliant breath of fresh air and whilst her decision to follow Moffat and Capaldi out the door is understandable, it isn’t any less disappointing. And perhaps the timey-wimeyness of the circumstances around her passing mean that maybe this isn’t the last we see of her…
Most wasted guest actor
I don’t what I expected from the reliably excellent Samantha Spiro in Doctor Who but I didn’t get it from her part in The Doctor Falls.
Gay agenda rating
With Bill onboard, A+!
“And what’s he then that says I play the villain?When this advice is free I give and honest”
My first Othello was just last month with the Crucible’s extraordinary production which was rather breath-takingly good, so I was a little trepidatious about putting on this DVD on the Globe’s take on the play from 2007. Wilson Milam directed this rather traditional production but I was still rather keen to see an alternative version, especially once I’d found out that it contained John Stahl and Sam Crane in its ensemble.
Given how strong the four central characters were in Sheffield, I was quite surprised, and pleased, at how good I (mostly) found the four actors here to be, offering different but equally effective takes on the roles and demonstrating the malleability of Shakespeare’s text when in the right hands. Eamonn Walker’s Othello is a strident beast, most definitely a warrior though with hints of vulnerability which Zoë Tapper’s astoundingly accomplished Desdemona is clearly attracted to and thoroughly won over by. He perhaps could have worked in a little more charisma into his performance and his verse speaking didn’t always feel quite so natural, but this was mainly in comparison to Tapper whose luminosity shone through onstage, through every move she made and word she spoke, truly breaking the heart as the betrayals kick in. It feels a crime that she hasn’t done more stage work. Continue reading “DVD Review: Othello, Shakespeare’s Globe”
“It feels like we’re just generally waiting around for something to happen”
Set towards the end of the First World War in the trenches at St Quentin, Journey’s End is a compelling account of life in an officer’s dugout written by RC Sherriff who drew on his own experience there to create this piece of powerfully timeless drama. Never moving from Jonathan Fensom’s tightly designed set, it focuses particularly on Captain Stanhope who is leading this group of officers in the days before the Germans launched one of their fiercest offensives as they reflect back on what has happened, battle through the grim realities of day-to-day life on the front line and contemplate the conflict that lies ahead.
David Grindley’s production was first seen in the West End in 2004 and is a masterclass in showing that less can be so much more when deployed with the devastating effectiveness that we see here. One of the play’s recurring themes is the corrosive effect of the endless waiting on the minds of soldiers and officers alike, so much so that one almost longs for something to happen, despite knowing that the order to the front line is an almost certain death sentence. So when that finally happens, the way that the audience is left to make their own conclusions about what is going on in the trenches above from the noise of artillery and bombs whilst watching an empty stage, especially when it is the fate of two of the main characters that lies in the balance, it is an almost unbearable moment. Gregory Clarke’s sound design is perfectly throughout, ever-present but rising to uncomfortable levels as the characters we’re coming to know repeatedly go up to face unimaginable peril above ground and the finale, with the final onslaught represented by a deafening wall of sound which literally shakes the theatre, is a moment of stirring horror that really does leave one stunned. Continue reading “Review: Journey’s End, Richmond Theatre”