“For whatever reason, he spared a hamster”
“That’s why there’s a God; otherwise anything can happen”
Arthur Miller’s titanic All My Sons has been well served in recent years – the late Howard Davies reviving his National Theatre production to stunning effect in 2010 and Michael Buffong illuminating it anew for Talawa Theatre in 2013 – so any new production has big boots to fill. And though seasoned director Michael Rudman comes with quite the track record (including a Tony for his work on Death of a Salesman in 1984), this production doesn’t quite howl with the anguish it could.
Part of the problem lies in Michael Taylor’s design which, whilst superficially impressive, works against the idiosyncratic space of the Rose Kingston and Rudman’s pacing negates far too much of the inherent tension in Miller’s depiction of the souring of the American Dream. So much comes from its slow-burning intensity that it is hard to believe that so many key moments get fudged, their drama fudged into melodrama or in some cases, just missing the beat entirely. Continue reading “Review: All My Sons, Rose Kingston”
“People want things to make sense”
Anchored by a barnstorming central turn from Imelda Staunton (as if there were any other kind), David Lindsay-Abaire’s Good People was a huge success for the Hampstead Theatre, so they’ve returned to this American playwright with his Pulitzer Prize-winning drama Rabbit Hole. The suburban comforts of Becca and Howie Corbett’s family life are wrecked when their four-year-old Danny is killed in a road accident outside their home. Tragedy swallows them whole and grief tears them apart, the divergence in their individual journeys threatening what’s left of their family.
The 2006 Broadway run got multiple Tony nominations and won for lead Cynthia Nixon and in 2011, the superb film adaptation garnered an Academy Award nomination for Nicole Kidman, so the stakes could be considered high for Outnumbered star Claire Skinner here. Edward Hall’s production never quite launches into the stratosphere though; whereas Good People depicted an authentic-feeling US working class life, Rabbit Hole’s middle class milieu doesn’t convince, too stagily British for its own good. Continue reading “Review: Rabbit Hole, Hampstead”
“I have to write an essay on Shakespeare’s view of the family, it’s a bugger”
Denmark Hill is something of a rarity, a 30 year old Alan Bennett television play that never saw the light of day and so remained unproduced until this radio version brought it back to life. A suburban riff on Hamlet which sets it in a contemporary South London, it’s more of an interesting curio than an essential addition to the Bennett canon but it still has many points of interest. A nifty turn of phrase when it comes to a joke, the often ridiculous behaviour of human beings at times of crisis, and a top-notch cast that includes Penny Downie’s Gwen, her new lover George played by Robert Glenister and her angst-ridden son Charles, the ever-lovely Samuel Barnett.
Sadly not a dramatisation of the Ocean Colour Scene song, Nick Payne’s The Day We Caught The Train is a predictably lovely piece of writing from one of our most reliable new writers. Olivia Colman’s Sally is a GP mourning the recent death of her mother, trying hard not to let being a single mother rule her life even if the fact is she hasn’t had sex for a year. We join her on a regular day full of mini-dramas which seem designed to keep her from something special, a date with Ralph Ineson’s kindly David. Naturally, it doesn’t quite go to plan but the way it unfolds into something beautifully moving is skilfully done indeed. Continue reading “Radio Review: Denmark Hill / Statistical Probability of Love at First Sight / The Day We Caught The Train”
“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”
“Whitechapel calls you back”
Victorian crime procedural Ripper Street burst onto our screens at the beginning of this year with a blood-spattered élan and a perhaps more violent streak than many were expecting, but it grew to be a most successful series with audiences (and me) and has since been renewed for a second series. Set in Whitechapel, the first episode had a Jack the Ripper focus, which with the title of the show, proved a bit of misdirection in terms of the series as a whole as the crimes that H Division ended up investigating were of a hugely wide-ranging nature and not just focused on the notorious serial killer (although the Ripper’s exploits did form a backdrop to part of the series-long arc).
It’s a period of history, and particularly social history, that I have long found interesting (I studied it as part of my degree) as notions of crime and punishment were rapidly changing and the nature of policing was also changing with the introduction of a more scientific approach to solving crimes. So Matthew Macfadyen’s DI Reid and Jerome Flynn’s DS Flynn are joined by US army surgeon Captain Jackson, played by Adam Rothenburg, as they work their way through the serious crimes, civil unrest, and personal vendettas that crop up on a weekly basis. Continue reading “TV Review: Ripper Street Series 1”
“Critics! Do I work to amuse them? Can they judge me as equals? – when they are themselves without my gift.”
Part of the The Print Room’s artistic mandate has been to unearth little-known works by major playwrights to bring them new life and after Alan Ayckbourn and Tennessee Williams, it is Henrik Ibsen’s turn. Here, his final play When We Dead Awaken has been adapted by Mike Poulton into a new version named Judgement Day and in James Dacre’s production, features some luxury casting in both Michael Pennington and Penny Downie working hard in this intimate theatre.
As with much of his later work, Ibsen casts an excoriating self-reflecting view on the life and longevity of the artist. Arnold Rubek is an ageing sculptor, hugely successful with his early work yet now lacking inspiration with both his work which has become perfunctorily commercial and in his personal life, his young wife Maia cares nothing for art and their’s appears to be a mutually antagonistic relationship. However, the arrival of his long-lost muse Irena and the animalistic Baron Ulfheim offers challenges and possibly renewed hope for both of them. Continue reading “Review: Judgement Day, The Print Room”
The best laid plans oft gang aft and having pretty much decided not to bother with the Simon Gray play Butley, opening now at the Duchess Theatre, as I have been trying (and admittedly failing) to try and cut down on the amount of theatre I’m seeing, sure enough an offer I could not refuse popped up (courtesy of @bargaintheatre – a chap well worth a follow on Twitter for his ferreting around for some great deals) and so 10 English pounds for the best available seats in the stalls were spent for this first London review, the play having done a week in Brighton already.
Ben Butley is an academic stuck in an English department in a university at some point in the 1970s and having a frankly horrific first day of term. His wife wants a divorce, he is struggling to write his book on TS Eliot whilst his colleague has got a publishing deal, his students expecting their tutorials are impinging on his time but most significantly of all, his protégé Joseph, with whom he shares his office, his flat and frustratingly vague hints of further intimacy, is seeking his independence both professionally and domestically, about to move in with his lover Reg. In response to this turn of events, he turns up the irascibility and petulance as he flails against a world moving on without him, masking his fear of failure through some thoroughly obnoxious behaviour and a scathing line in rapier-sharp wit. Continue reading “Review: Butley, Duchess Theatre”