I have a mixed time with some shaken-up Shakespeares – othellomacbeth at the Lyric Hammersmith; Twelfth Night at the Young Vic; Much Ado About Nothing at the Watford Palace; and Measure for Measure at the Donmar
“Condemn the fault and not the actor of it?”
I’m the first to say that modern adaptations of Shakespeare need to do something different to justify their place in today’s theatre ecology. Lord knows there’s been enough traditional renditions of his work, and still they come, and even if there are always going to be people coming for the first time, there’s also a real need to make his plays speak to contemporary society in a way that is unafraid to challenge his reputation. It is perhaps no surprise that it is female directors and directors of colour who are at the forefront of doing just that and there have been four key examples in London most recently – Jude Christian’s othellomacbeth at the Lyric Hammersmith, Kwame Kwei-Armah and Shaina Taub’s Twelfth Night at the Young Vic, Brigid Larmour’s Much Ado About Nothing at the Watford Palace and Josie Rourke’s Measure for Measure at the Donmar.
And of course, having demanded that this is what directors do, I found myself disappointed at the majority of these, for some of the same reasons and some different ones too. Perhaps the most formally daring is Christian’s othellomacbeth which smashes together the two tragedies to create something which ends up less than the sum of its constituent parts. Its intentions are certainly noble, seeking to highlight the female voices in these plays and give them prominence. But the reality is that in the two substantially reduced treatments here, everything becomes diminished, not least narrative clarity. There’s one cracking idea which connects the two, which you suspect might have inspired the whole production, but ultimately, it is not enough to hang the whole thing on. Continue reading “Blogged: shaking up Shakespeare”
“Time will tell, it always does”
Phew, the Doctor Who rewatch comes to an end with the most recent series, another that I hadn’t seen any of since it originally aired. And again it was one of highs and lows, a frustrating sense of pick and mix that never settles. So from the astonishing bravura of the (practically) solo performance in Heaven Sent to kid-friendly quirks of the sonic sunglasses and guitar playing, Capaldi took us from the sublime to the silly. Fortunately there was more of the former than the latter (although it is interesting that my memory had it the other way round).
Part of it comes down to knowing in advance how the hybrid arc plays out (disappointingly) and a little perspective makes Clara’s departure(s) a little less galling. This way, one can just enjoy the episodes for what they are, free from the weight of the attempted mythologising. The Doctor raging against the futility of war, the wisdom (or otherwise) of forgiveness, the repercussions of diving in to help others without thinking through the consequences…it is often excellent stuff. It’s also nice to see Who employ its first openly transgender actor (Bethany Black) and a deaf actor playing a deaf character (Sophie Stone). Continue reading “Countdown to new Who: Doctor Who Series 9”
“Why would he do something like that? We’ve got caravans, we’ve got a games room that caters for people in wheelchairs”
My favourite thing about Happy Valley is actually the association the title has for me and my family – it was the name of the Chinese takeaway opposite my Aunty Jean’s house where we’d often get our Saturday tea. It’s a lovely fond memory that sits rather at odds with the realities of this recent TV series which I finally caught up with and which reunites what looks like becoming one of the best creative partnerships we have in the country – writer Sally Wainwright and actor Sarah Lancashire. Baftas all around I shouldn’t wonder.
The location may be similar to the rather more bucolic Last Tango in Halifax – Happy Valley is set in nearby Hebden Bridge – but we’re in a much grittier world of suburban disillusionment as this police drama takes in kidnap, rape and murder, all underscored by the pervasive influence of a spiralling drugs problem throughout the town. Wainwright being a more sophisticated writer than most though, ensures that her drama takes in the full breadth of the experience, examining the aftermath of the crimes just as much as the deeds themselves. Continue reading “TV Review: Happy Valley”
“Do the thing you have to to get your client off”
Helen McCrory first came to my attention as one of the lead characters in legal ensemble show North Square. Broadcast on Channel 4 in 2000, it featured a cracking ensemble that also included Rupert Penry-Jones, Dominic Rowan and Phil Davis, yet it only had the one series which I don’t think you can get on DVD but it is available to watch on Channel 4’s 4 On Demand service.
Written by Peter Moffat, North Square is a drama set in a criminal chambers in Leeds and centres on a group of young, irreverent barristers all determined to make their mark by using unorthodox methods and unconventional approaches to counter the dusty practices of a legal profession they want to lead into the twenty-first century. They are led by their chief clerk, the highly manipulative Peter McLeish played brilliantly by Phil Davis, who is determined to make a success of this enterprise and has no scruples about negotiating with the criminal families that rule Leeds in order to maximise business opportunities even as it poses a moral quandary for some of the lawyers. Continue reading “DVD Review: North Square”