It’s all change at Thames House as Series 3 of Spooks sees the original core team leave the security service one way or another
“We cannot have another Tom Quinn”
I’d forgotten just monumental this series of Spooks was, as first Matthew MacFadyen’s Tom took his leave after getting a conscience, then Keeley Hawes’ Zoe was shunted off to Chile to evade justice and then David Oyelowo’s Danny shuffled off this mortal coil thanks to bloody Fiona and an annoyed Iraqi terrorist. Rupert Penry-Jones was drafted in as Adam, a friendly MI6 type who fits the Tom mould perfectly, though we could have done without his wife (more of that anon).
But even besides all the personnel shifting, the writing is shit-hot in this season, especially when the focus is on the morality of security service actions. Targeted assassinations on North Sea ferries, honeytrapping members of the Turkish mafia, these are meaty issues with some real consequences for all concerned.
Now firmly established in the team, attention turns to her trying to get some, in the most Ruth-like possible way, ie stalking someone illegally and sharing a carbonara with a traitorous ex-colleague, this is prime Ruth territory. Continue reading “Lockdown TV Review: Spooks Series 3”
“You know what it’s like when you’re in a room with the light on and then suddenly the light goes out? I’ll show you. It’s like this.”
He turns out the light.
I do try and test my prejudices when it comes to playwrights for whom I have little fondness but the reality is that its hard to psyche yourself up in the name of being open-minded. Pinter is one of those writers for me, I can’t say I’ve ever enjoyed myself at one of his plays and at this point, I can’t see myself having a breakthrough moment with him in the way that I did with, say, Chekhov.
The main reason I allowed myself to be persuaded to see Sean Mathias’ production of No Man’s Land, previously seen in New York, was the cast – theatrical royalty in Ian McKellen and Patrick Stewart plus Damian Molony and Owen Teale – but even then I can’t say that I was anything but bored in this tale of two old actors who may or may not share a past and waste a whole lotta breath skirting around it.
Running time: 2 hours 5 minutes (with interval)
Booking until 17th December
“Edmund Reid did this”
As I might have predicted after the soaring heights of Series 3, the fourth season of Ripper Street didn’t quite live up to its forerunner. Then again, how could it after the epic sweep of the storytelling had so much of the finale about it in terms of where it left its key characters – Matthew Macfadyen’s Reid, Jerome Flynn’s Drake, Adam Rothenberg’s Jackson and MyAnna Buring’s Susan – picking up the pieces to carry on was always going to be difficult.
To recap, Reid had given up the police force after being reunited with his previously-thought-dead daughter Mathilda, and Susan’s momentous struggle against the patriarchal strictures of society (and also the nefarious entanglements of her actual father) saw her and Jackson end up behind bars, having also drawn Reid and the promoted Drake into the exacting of an individual kind of justice. Continue reading “TV Review: Ripper Street Series 4”
“Do you want me to recrime it sir?”
With Jed Mercurio’s Line of Duty about to start its third series on BBC2, I thought I’d go back to the first two series as they have to rank as some of the best police dramas out there. Centred on the world of AC-12, an anti-corruption unit charged with investigating suspected police wrongdoing, we’ve been so far blessed with two extraordinary stories, hanging on superb performances from the people under suspicion – Keeley Hawes (whose series we’ll get to next) and Lennie James.
James plays DCI Tony Gates, a decorated officer with an amazing clear-up rate that seems too good to be true, and so when he comes to the attention of AC-12, initially for something completely unrelated, the wheels are set in motion for a fast-degenerating state of affairs. Money laundering, drug running, cover-ups, and gruesome murders intertwine and intersect with Gates at the heart of it all, but his true connections to events always in question, right until the end. Continue reading “TV review: Line of Duty Series 1”
“We’re all shattered underneath really, aren’t we”
The second part of Nicola Walker’s cross-channel takeover of crime drama has been BBC1’s River. An altogether different prospect to ITV’s Unforgotten, Abi Morgan’s six-parter is aesthetically closer to the Nordic noir of which TV audiences seem unendingly enamoured but still manages to find its unique niche in a crowded marketplace. The Scandi feel is enhanced by the genuine casting coup of Stellan Skarsgård as DI John River but what marks out River are the people around him.
Chief among these is Walker’s Stevie, DS Stevenson, who we meet straightaway and instantly get a feel for their closeness of their professional relationship as they tackle crime on the streets of London. But what is brilliantly done is the shift from buddy cop show to something altogether darker as [major spoiler alert] we find out at the end of episode 1 that Stevie is dead, murdered recently, and River is in fact imagining her presence at his side, even to the extent of regularly conversing with her. Continue reading “TV Review: River”
“245 women silks ever, out of tens of thousands”
I do love a legal drama and so too does Peter Moffat. I’m forever grateful for him for the Helen McCrory-starring joy that was North Square and I’ve recently caught up with the two series of Criminal Justice that he was responsible for, so it was only natural that I should be a big fan of Silk. But as the time pressures of a busy theatre schedule rarely let go, it wasn’t something I had time to watch live and it was only with its arrival on Netflix that I was able to catch up with it. The show focuses on a single chambers with two leading lights both hoping to be appointed Queen’s Counsel, “taking silk” as it were, and dealing with the pressures of life at the Bar.
Casting Maxine Peake and Rupert Penry-Jones as the rivals Martha Costello and Clive Reader works extremely well – her fierce intelligence and emotional counterbalance being perfectly portrayed by the ever-strong Peake and Penry-Jones making Reader something of an arrogant buffoon yet one with some redeeming qualities as he competes and consoles, seduces and shines his way through life. Over the six episodes, the focus is mainly on Martha and her dilemmas as she finds herself pregnant at a time of huge professional significance, but the series as a whole makes for a modern and exciting version of a legal drama. Continue reading “DVD Review: Silk, Series 1”
“That’s what men want to hear…pornography”
The trio of recent major Peter Nicholls revivals is completed with this West End run of Passion Play. But where Privates on Parade and A Day in the Death of Joe Egg thoroughly charmed me with their insights into his back catalogue, this play felt much less like a vibrant piece of interesting theatre and more of a dated portrayal of marriage and infidelity which, despite its technical innovation, emerges as an awkward example of middle-aged male wish fulfilment (credit to @pcchan1981 for coming up with the phrase!). This is somewhat compounded by the direction of David Leveaux which brings a lascivious, almost voyeuristic sheen that feels way too retrogressive for this day and age.
Which is a shame, as there is much to enjoy here as well, not least in the sumptuous luxury of Zoë Wanamaker and Samantha Bond playing the outer and inner voices of the same character. That woman is Eleanor, who finds her marriage of 25 years to James, Owen Teale and Oliver Cotton taking on the two sides of this man, challenged by the arrival of the seductive and much younger Kate. And through the device of the alter egos, we see how the corrosive onset of infidelity affects this couple both publicly in their interactions but also privately as their innermost thoughts are given voice. Continue reading “Review: Passion Play, Duke of York’s”
“Why does every festival have to end with a hangover and a mess and everything in ruins?”
The Royal Court’s impressive commitment to international playwriting turns its focus to Eastern Europe for the next month or so with readings of plays from Georgia and Ukraine supplementing the run of A Time to Reap, a new play from 22 year old Polish writer Anna Wakulik. First developed in 2011 on the Royal Court’s own International Residency, it is staged here in a translation by Catherine Grosvenor and directed by the always interesting Caroline Steinbeis.
Ricocheting between the Polish mountain village of Niepokalanów, Warsaw and London, A Time To Reap follows the story of a woman, Marysia, and her interactions with the handsome but restless Piotr and his gynaecologist father Jan in a Poland emerging from the shadow of Communism but where religious feeling has ensured a hardline stance on abortion. And as the three characters come to terms with the changing circumstances of their lives, the opportunities presented on the one hand and taken away with the other, their inextricably entwined lives play out in all their emotional highs and lows. Continue reading “Review: A Time to Reap, Royal Court”
“The sad-eyed justice, with his surly hum”
The fourth and final part of The Hollow Crown was Thea Sharrock’s televisual debut in directing Henry V, which carried over much of the same cast from the (disappointing for me) Henry IVs of the previous two weeks. The timing was not ideal for me to be honest, as I’ve seen the play in three different productions recently, and so normally I would have resisted the opportunity to see it again. But I needed to complete the set of these Shakespeare adaptations whilst I could still get them off the iPlayer before departing on holiday, and so once more unto the breach I stepped.
In some ways this was the type of production I’d been waiting for: a classical interpretation, but one which interpolated the melancholy, war-heavy themes that have marked the more modernised recent takes by Propeller and Theatre Delicatessen rather than the broadly comic and near-jingoistic approach currently at the Globe. From the off, it is clear that Sharrock is focusing on death as cinematic license permits Henry’s own funeral at the young age of 35 to be used as a framing device, lending an emotional resonance to the film which Hiddleston’s fast-maturing monarch plays against beautifully. Continue reading “TV Review: The Hollow Crown, Henry V”