A cast led by Michaela Coel, Noma Dumezweni, John Goodman and Lucian Msamati make Hugo Blick’s complex Black Earth Rising watchable if not quite essential
“That is why I made a deal like that”
A tricky one this. At this point, you know what you’re getting with a Hugo Blick drama (qv The Shadow Line, The Honorable Woman), weighty complex dramas with amazing casts tackling inscrutable global conspiracies. And Black Earth Rising is no different, as it puts the Rwandan genocide and its aftermath under the microscope, examining Western colonial and capitalist attitudes towards Africa along with the role of the Iinternational Criminal Court.
And with a cast led by Michaela Coel, Noma Dumezweni, Harriet Walter, John Goodman and Lucian Msamati to name just a few, it is naturally eminently watchable. Coel plays Kate Ashby, a young woman with a complicated relationship with her barrister mother Eve (Walter). Eve adopted Kate from Rwanda years back but her decision to take on a case prosecuting a Tutsi general who, after helping end the genocide, went on to commit war crimes in neighboring Democratic Republic of Congo, outrages Kate who is also Tutsi.
Continue reading “TV Review: Black Earth Rising”
With major fluctuations in the force, Series 8 maintains a strong level for Spooks – you could argue it should have stopped here
“They think you’ve got Harry Pearce in the palm of you hand and you’re making moves”
Finally, after too many years of yoyo-ing between good series bad series, Spooks finally put together two strong instalments back to back. I think the shorter run (8 episodes) really does focus the writing which now goes all-in on the serial plot line running through the whole series, yet still finding time to blend in self-contained storylines here and there.
Big betrayals cut deep, harsh on a team barely recovered from Connie’s recent deception. Personnel changes rock the team equally hard, as Malcolm is (metaphorically) sacrificed to bring back Ruth, Jo is (literally) sacrificed for big business and Ros (understandably) goes in hard for Tobias Menzies. And Richard Armitage’s Lucas North gets his arse out – quality TV all round. Should Spooks have gone out all guns blazing here?
She’s back! There’s a measure of contrivance in Ruth’s return to the show, necessary to undo the finality of her previous departure and to extricate her from the cushy life in Cyprus which she’d established forself. So cheerio to handsome new partner (they weren’t married so it’s OK he got killed), sayonara to her step-child in all but name, and welcome back to sweet emotional lrepression with Harry. Continue reading “Lockdown TV Review: Spooks Series 8”
“Hanna, what did your mum die of?
I have a deal of affection for Joe Wright’s Hanna, a film I saw at the cinema as part of a birthday treat back in 2011 and so watching it again for the first time has that special layer of extra memory attached to it. Which it kind of needs as I’d forgotten how loopy the revenge thriller is. Saoirse Ronan’s Hanna has been raised as a crack assassin since birth by her ex-CIA father Eric Bana but hidden away in the isolated Arctic tundra as current CIA supremo, Cate Blanchett’s insanely fruity Marissa, wants them both dead to protect a secret they possess.
One day, Hanna declares that she’s ready to take on their nemesis and the ensuing cat-and-mouse chase takes our characters from Finland to Morocco, Spain to Germany, all to the beats of a thumping soundtrack from The Chemical Brothers. Wright folds in elements of The Brothers Grimm into the story too to evoke a very dark fairytale feel. And it’s one that works intermittently, the hyper-stylised violence hits hard and provides the energy that is sorely needed in some of the quieter sequences. Ronan is a mesmeric screen presence as this impossible girl and proves a dab hand at doing her own stunts. Continue reading “DVD Review: Hanna”
“Certain men just don’t get started ‘til later in life”
To criticise an RSC production of being traditional seems a little bit beside the point, especially under this artistic directorship, but that’s how I felt on leaving this production of Arthur Miller’s Death of a Salesman. It is undoubtedly impressive but it rarely feel inspired, it just doesn’t do enough to convince that the sobriquet “greatest American play of the 20th century” (as Doran labels it in the programme) is well-deserved, especially in the light of such revelatory work being done on one of Miller’s other plays even as we speak.
Antony Sher’s Willy Loman, the American Dreamer who never quite gets there, has been done in by life. Business as a travelling salesman has dried up, his older son has severely disappointed him and ghosts of the past plague his mind so virulently that they seem real. Miller weaves in scenes of the Lomans’ past most ingeniously into Willy’s current day affairs but though Sher gives us all of the abrasiveness of a frustrated would-be patriarch, his performance lacks the psychological intensity to really pull you into his thought processes. Continue reading “Review: Death of a Salesman, Royal Shakespeare Theatre”
“I don’t want to believe that we come from monkeys and apes, but I guess that’s kinda besides the point”
Inherit The Wind is a courtroom drama, based on the true life story of a Tennessee schoolteacher who was threatened with imprisonment for teaching Charles Darwin’s ideas on evolution, in direct contravention of school policy. A highly strung court case then follows, pitching creationists against evolutionists, and bringing two legal titans to a small town in Tennessee to argue the case, the ramifications of which clearly extend beyond that classroom in the Deep South. Its timing seems uncanny: even on the 150th anniversary of the publication of On The Origin of Species, a highly recommended (by me at least) film Creation, about Darwin’s struggles with his own faith as he wrote it, has not been able to find a distributor in the US because it is considered too ‘controversial’ in a country where allegedly barely a third of the population actually believe in evolution.
The scale of this production really is admirably epic: the staging is superb, with the Old Vic’s stage being opened up to a great depth (you could probably fit the stage for Annie Get Your Gun on there 15 times over!), the already healthy cast is ably bolstered by a phalanx of supernumaries, bringing the total company to 50 bodies who bring an authentic air of claustrophobic small-town living to several scenes, most notably the prayer meeting just before the trial. The use of hymns sung by the company during scene changes further reinforces this strong sense of a community joined by the power of their faith. Continue reading “Review: Inherit The Wind, Old Vic”
Marking my first visit to the National Theatre since moving to London, His Girl Friday is a play which has been adapted by John Guare from 2 sources: the 1928 play The Front Page by Ben Hecht and Charles MacArthur and the 1940 film adaptation His Girl Friday by Howard Hawks which inverted the gender of the lead protagonist. Thus a madcap romantic element to this story of energetic newshound Hildy Johnson and her editor (and ex-husband) Walter Burns who will stop at nothing to stop her impending wedding to another man. In the midst of all of this is the scoop of the century which Hildy cannot resist as she revels in the world of cutthroat journalism.
As the central couple, Zoë Wanamaker and Alex Jennings were simply fabulous, the electricity between them just crackles with suppressed sexual energy as it is clear that this couple really does belong together and their fights full of whip-sharp wisecracks and putdowns are a joy to watch as the intersection of their professional and personal relationships makes for a whole lotta farcical fun and they are both excellent at showing how dog-eat-dog their world is. Continue reading “Review: His Girl Friday, National Theatre”