The enduring lightness and laughter of Series 1 of Twenty Twelve make it an ideal lockdown watch
“OK. Here’s the thing. OK? The thing is… OK. Here’s the thing with this. OK. The thing is…”
Though it is actually nearly a decade ago now, 2011 does seem like another lifetime. And it is worth remembering too that pre-Olympics, many of us (particularly those who live and work in the capital) were sceptical about what havoc the 2012 Games would bring (I had a whole meeting about how dedicated traffic lanes would impact on some training I was meant to be running…).
Into this unknown, mockumentary Twenty Twelve – written and directed by John Morton – was broadcast (on BBC Four natch, those sceptics abounded) to coincide with the 500-day countdown to the opening ceremony. And a new British comedy classic was born, one which still holds up well now that things are, well, different. Continue reading “TV Review: Twenty Twelve (Series 1)”
In Death of England, Rafe Spall delivers the performance of a lifetime in this punchy monologue by Clint Dyer and Roy Williams at the National Theatre
“These are my dad’s words, not mine”
When the Dorfman gets it right, it really is something special. The combination of our National Theatre’s calibre and the intimacy of its smallest theatre means that when a play dares to do something different in there, the results can be extraordinary. I felt it in the pit for the first run of London Road, in the genius pre-show of Barber Shop Chronicles, and it is now in evidence once again with Clint Dyer and Roy Williams’ epic monologue Death of England, featuring a stunning performance from Rafe Spall, directed by Dyer.
Ferocious and fearless, we first meet Michael on the mother of all benders while he mourns the death of his father and then quick as you like, he flashes into storyteller mode and proceeds to not so much dismantle the fourth wall as to charm it into buying him six pints and then home for an unsatisfactory fumble. For about a quarter hour, Spall sets up Michael’s world beautifully by bantering with audience members with consummate ease, offering a sniff of this, a taste of that, seeking validation too as we come to realise how fragile a man he currently is. Continue reading “Review: Death of England, National Theatre”
Some decisions that reflect my own nominations for the year, many others for plays I haven’t seen and as ever, some curious choices too.
Gabriella Slade for Six at the Arts Theatre
Jonathan Lipman for Harold & Maude at the Charing Cross Theatre
Pam Tait for Rothschild & Sons at the Park Theatre
Bethany Wells for Distance at the Park Theatre
Francis O’Connor for Harold & Maude at the Charing Cross Theatre
Simon Daw for Humble Boy at the Orange Tree Theatre Continue reading “The finalists of The Offies 2019”
“I was meant to do the world a service”
Watching the 2003 adaptations of The Canterbury Tales may have gotten off to a shaky start on disc 1 but soon rallied to make the project seem a worthwhile one and so I tackled disc 2 with some gusto. Unfortunately these latter three stories also suffered from the same unevenness and ultimately threw up a big question about the efficacy of the whole thing. In Avie Luthra’s The Sea-Captain’s Tale, the story of a marriage in an Indian community gone sour gains a pungent power as Indira Varma’s manipulative Meena turns to her husband’s business partner when in something of a bind. She would have it that Om Puri’s older Jetender is an oppressive bully and that Nitin Ganatra’s Pushpinder is her only chance of happiness, but it is soon apparent that she will say and do anything to get her bills paid, her urges satisfied and her selfishness sated. It has a film noir-ish tendency which works well and Varma is always eminently watchable.
The Pardoner’s Tale, retooled by Tony Grounds, is much less successful though. An unwieldy tale of three ne’er-do-wells and their conman ways in a town that is reeling from the impact of a potential serial killer as another teenage girl disappears. As parents and friends intensify their search, the men plot ways to scam money for themselves and as a young woman falls into their circle, the two plot strands ostensibly weave closer. But it is clumsily done, the denouement an unsubtle hammer blow and the elements of the story far too disparate – Jonny Lee Miller as the lead character is vaguely interesting, but not enough to save it. Continue reading “DVD Review: The Canterbury Tales (2)”
“I thought you had a bit of milk in your coconut”
The second (and last) of the Sally Lockhart Mysteries to be adapted for the television, The Shadow in the North very much pales in the shadow of The Ruby in the Smoke for me as the lesser of the two, which is a real shame as I did love the latter and felt it showed great promise in setting up the mini-franchise. This story sees Sally following up a client who has lost her savings after investing in a company, on Sally’s advice, which went bust suspiciously. The mysterious industrialist behind that company the Swedish Axel Bellman quickly set up again and so Sally’s instincts are aroused as she investigates the business dealings in order to get compensation for her client. But accusing such a powerful man of corruption and fraud sets her on a most dangerous course and puts the lives of those around her at severe risk.
So the ingredients are there, and the story is one I enjoyed reading, but something was just missing. The mystery never quite has the drive to keep the story going, the tone ends up being rather dour rather than dark and subsequently doesn’t grip like it ought. And its nature means that Billie Piper’s Sally is given less chance to interact with the key players around her – it is Pullman’s fault rather than the show’s but it is a real shame that Hayley Atwell’s Rosa is dispatched to marital bliss in the country within 10 minutes of the show starting as they made a great team. Instead, the personal intrigue is around whether Sally will admit to her feelings for JJ Feild’s Fred (still so handsome!) and Matt Smith’s Jim, thankfully no longer the narrator, hangs around like a bit of a spare part, though gets to do a lot of the investigating (bizarrely though off-screen and on his own…). Continue reading “DVD Review: The Shadow in the North”
Part of Helen McCrory weekend
“I know first hand the cruelty he’s capable of”
Though North Square was probably the first time I really took notice of Helen McCrory, it was in The Jury that she really stole my heart and for ages, it was this show that I fruitlessly referenced when trying to explain who she was. Written by Peter Morgan, The Jury played on ITV in 2002 over 6 episodes following a single court case as a Sikh teenager is accused of killing his 15 year old classmate. But rather than focusing on the case, as the title suggests the attention was the men and women that made up the jury and how the experience affected their lives in a multitude of ways.
McCrory played Rose, a rather nervous woman with an overbearing husband (boo, Mark Strong) who unexpectedly finds a sense of freedom in being allowed out into a new world and seizes the opportunity with both hands. Stuck in a room with people she doesn’t know, she almost reinvents herself from scratch and find herself increasingly drawn to Johnnie, who is played by a pre-Hollywood Gerard Butler (so who can blame her). He has his own challenges from a troubled recent past though and so whilst the sweet relationship that builds between the two is beautifully essayed as one senses the genuine spark between the pair, the small matter of his demons and her husband remain in the way. Continue reading “DVD Review: The Jury”