So pleased to have one of my favourite actresses take on the 10 questions for 10 years challenge – all hail Noma Dumezweni!
Although she was already an Olivier award-winning actor by the time I started blogging, there has been a particular thrill in seeing Noma Dumezweni’s star rise the way it has over the last decade. A thrilling Paulina and Nurse wherein I first fell in love, absolutely bossing the Royal Court, even taking the time to make her mark in Doctor Who. Oh and the small matter of her mind-expanding Hermione, a triumph onstage naturally but also showing off a grace on social media that we would all do well to emulate.
“Apart from sharing the stage with ’The Marsh’ – that show put me contact – via a confluence of timings and moments – with my father in SA, after over 30 years… so, it’ll always be special, let alone getting to meet the real life people Matthew and I portrayed in that piece. It was a pretty awesome time.”
Where were you 10 years ago?
Working on the last two year ensemble at the RSC – I finished bruised, grown and elated with the whole experience. Final shows were at The Armory in NY.
54 years is quite the wait for a sequel but Mary Poppins Returns is full of nostalgic sweetness and charm
“Are you sure this is quite safe? ‘Not in the slightest. Ready!'”
54 years is quite the wait for a sequel but the sweetness and charm with which Mary Poppins Returnslands on our screens makes it pretty much worth it. It’s a film that does more than wrap you up in a warm blanket of nostalgia, it tucks you in, throws another log on the fire and makes you a steaming hot chocolate (no marshmallows though!).
Set 30 years after the much cherished original, the story (by David Magee, Rob Marshall and John DeLuca based off of PL Travers’s original tales) sees us rejoin Cherry Tree Lane where the adult Michael Banks (Ben Whishaw) lives with his young family (Pixie Davies, Nathaniel Saleh and Joel Dawson). But much like the other long-held sequel of the year, a sadness fills the house for a mother has died. And Michael’s artistic inclinations and part-time job at the bank aren’t bringing in enough to keep them from repossession. Who could possibly save the day…? Continue reading “Film Review: Mary Poppins Returns (2018)”
International Rescue Committee (IRC) and Shakespeare’s Globe have come together to mark World Refugee Day with a powerfully moving short film – the “Stranger’s Case”.
Actors from some of the biggest TV shows and Broadway shows have come together with refugees from Syria, Sierra Leone, and South Sudan (half of the people who appear in the film have fled conflict) to perform a previously banned speech widely believed to have been written by William Shakespeare, from the collaborative 16th-century play “Sir Thomas More”.
“We could see this was a bad one immediately. The sky was glowing.”
Touted as an evening of song, dance and poetry, Songs and Solidarity was a remarkable event indeed. A fundraising gala evening pulled together in the space of a week by the superhuman efforts of actor Giles Terera and producer Danielle Tarento, it was a concert for the hundreds of families made homeless and the relatives of those who lost their lives in the Grenfell Tower fire. Hosted by Claire Sweeney, musically directed by the enormously talented Tim Sutton,
The balance of the programme was just right too. From pure musical loveliness like the gentle harmonies of Tyrone Huntley and Jon Robyns on Cyndi Lauper’s ‘True Colors’ and the simplicity of Rachel Tucker’s acapella take on ‘She Moved Through The Fair’, to the more intense emotion of Terera’s own ‘Ol’ Man River’ and a visibly moved Clare Foster’s ‘Don’t Worry About Me’ (a song with which I wasn’t familiar but rather destroyed me). From the much-needed comic relief of Stiles & Drewe skipping through ‘A Little Bit of Nothing On A Big White Plate’ to the soul-warming ‘Indiscriminate Acts Of Kindness’ performed by the ever excellent Julie Atherton.
Adding to the fundraising efforts already established, actor Giles Terera and producer Danielle Tarento have put together a theatrically inclined evening of song, dance and comedy in aid of those affected by the Grenfell Tower fire.
“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 darknessthat 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”
“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 andForest 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.