Flying against the wind with this I know, but the second series of Fleabag leaves me rather cold…
“I think you’ve played with my guinea pig long enough”
I’m not sure why I’ve never succumbed to the Fleabag love that has swept the nation. Whether onstage or on screen, Phoebe Waller-Bridge’s magnus opus has never quite done it for me but what do I know – the return of the show, to a West End theatre no less, sold out quickly and the column inches about this second series of the TV show have been mounting up.
And ever the contrarian, this follow-up hasn’t really tickled my fancy either. The one thing that I think it did brilliantly was in its use of the fourth wall, particularly how Andrew Scott’s hot vicar was able to see through it for the loneliness avoidance technique it was and for pure storytelling, I thought it worked very well in terms of humanising a character who has always been rather arch. Continue reading “TV Review: Fleabag Series 2”
BEST ACTOR in partnership with Ambassador Theatre Group
Bryan Cranston Network, National Theatre (Lyttelton)
WINNER – Ralph Fiennes Antony and Cleopatra, National Theatre (Olivier)
Ian McKellen King Lear, Minerva Chichester & Duke of York’s
Colin Morgan Translations, National Theatre (Olivier)
Kyle Soller The Inheritance, Young Vic & Noël Coward Theatre
NATASHA RICHARDSON AWARD FOR BEST ACTRESS in partnership with Christian Louboutin
Laura Linney My Name Is Lucy Barton, Bridge Theatre
Carey Mulligan Girls and Boys, Royal Court
Cecilia Noble Nine Night, National Theatre (Dorfman)
WINNER – Sophie Okonedo Antony and Cleopatra, National Theatre (Olivier)
Lia Williams The Prime of Miss Jean Brodie, Donmar Warehouse Continue reading “Winners of the 2018 London Evening Standard Theatre Awards”
“You look stressed.
Phoebe Waller-Bridge would have every reason to look stressed as she has certainly been keeping busy – writing and starring in two TV shows this year alone – and she also point to extraordinary levels of success too, as the entire run of this return of Fleabag to the Soho Theatre sold out in less than 10 minutes. Riding high on its very well-received television adaptation from the summer, its a canny piece of programming that has paid real dividends.
In some ways, I shouldn’t have gone back. Not being the hugest fan of the original production due to my issues with Waller-Bridge not giving me the kind of eye contact that other monologues have given me so effectively in that very same studio, I was then pleasantly surprised by how brilliantly the TV show worked. So I didn’t need to return to the stage show, but a friend had a spare ticket at the last minute and I’m rarely one to turn down a freebie. Continue reading “Re-review: Fleabag, Soho Theatre”
“I have a horrible feeling that I’m a greedy, perverted, selfish, apathetic, cynical, depraved, morally bankrupt woman who can’t even call herself a feminist”
I left it a little while to watch Fleabag on television, for though Phoebe Waller-Bridge’s ascension to the ranks of hugely buzzworthy writer has been pleasing to watch, I haven’t – dare I say it – always been the hugest fan of her work. For me, the effectiveness of her writing hasn’t always matched with the audacity of its frankness and so in her plays and TV shows like Crashing, I’ve admired the path she’s taking without hugely enjoying it.
Her breakthrough piece Fleabag equally didn’t hit my buttons in the way that it did for many others, thus my delay in getting round to watching it. And as is often the case with lowered expectations, it actually surprised me by being a very effective adaptation of the play. Its world has been expanded, both physically and personally, a whole cast of supporting characters now appear but crucially, there’s the thing I was missing most at the Soho – direct eye contact.
Fleabag rides on its confessional style and on screen, Waller-Bridge and director Harry Bradbeer nail it, direct asides giving us piecemeal insight into the trials and tribulations of this young woman struggling to make life in London work. Afraid of being a bad feminist and unafraid of her sexuality, desperately damaged by the death of her best friend and unable to connect with her family in a meaningful way, the piece is thoroughly enlivened and enriched by its treatment on screen. Continue reading “TV Review: Fleabag”
“Things are going to get, now and for the rest of your life, extremely difficult”
Well actually, things are getting easier to watch theatre in different ways and as I leave on holiday for a wee while, I thought I’d round up a few of the current offerings.
Mike Bartlett’s smash hit Wild
at Hampstead Theatre was livestreamed yesterday and is available until midnight on Tuesday.
Talawa’s touring production of King Lear is available on the iPlayer (I was a tiny bit disappointed with this to be honest)
And Phoebe Waller-Bridge’s Fleabag
has been developed into a TV series – not got round to watching it yet but could well be good
“You don’t have to be anything but who you are”
Close’s sixth and most recent Academy Award nomination came with 2011’s Albert Nobbs, a project with which she has been closely connected since starring in an adaptation of George Moore’s novella in 1982. As a producer and co-writer with John Banville, it’s clearly a labour of love for Close and along with co-star Janet McTeer, there’s some powerfully accomplished acting going on here, directed by Rodrigo García, that was rightfully recognised, with nominations at least, in that award season.
It is, however, not the most vivacious piece of writing you’ll come across. Nobbs is a butler in a small Dublin hotel run by Pauline Collins’ Margaret Baker in the late 19th century, which caters to the various whims of a carousing upper class (Jonathan Rhys Meyer, Phoebe Waller-Bridge, John Light, Phyllida Law among the bisexual and bolshy). Reclusive but dedicated, Nobbs has been squirelling away wages and tips for years with the hope of purchasing his own business, there’s just the small matter of a little secret that is, of course, no secret to us. Continue reading “DVD Review: Albert Nobbs”
“Everyone fucks everyone, eventually”
I wrote here about the first episode of Crashing, Phoebe Waller-Bridge’s sitcom for Channel 4, and though it didn’t really float my boat, I did persevere with the rest of the series. Truth be told though, it was just more of the same – I continued to like what I liked about it and similarly, what substantially rubbed me up the wrong way continued to bug me.
Namely, the thoroughly unlikeable nature of Waller-Bridge’s self-played lead Lulu, crashing into the lives of old friend Anthony and his fiancée Kate and doing her utmost to fuck up their relationship in order to act on their hitherto unexplored lifelong sexual tension. Not that characters have to be likeable to be good but I found nothing redeemable in Lulu, just a thoroughly obnoxious selfishness that turned me off pretty much the whole show. Continue reading “TV Review: Crashing Series 1, Channel 4”
“Someone needs an orgasm”
After the Olivier Award-nominated success of her solo show Fleabag, Phoebe Waller-Bridge has now made the leap to the small screen with Crashing, a new six-part comedy which is airing on Channel 4. Reuniting her with frequent creative partner Vicky Jones, its set-up involves a group of youngish Londoners who have opted out of increasing rental rates and signed up as property guardians for a disused hospital in which they now reside.
It’s hard to judge a series on its first episode alone but it does feel that Crashing has a way to go if it is going to work effectively. The writing does feel rather derivative – I kept having flashbacks to The One, with its repeated fake-outs – and rather too determined to be bolshy and indeed banterish, instead of, well, funny. The jokes about tampons, lesbian porn et al try too hard, the will-they-won’t-hey trope is deployed twice in this first episode alone, there’s work to be done… Continue reading “TV Review: Crashing, Channel 4”
“Can you not…with the Wotsits”
From its opening moments of one of the more unconventional sex scenes you’ll see this year, it is clear that Vicky Jones’ The One fits very much into the vein of work that she, and frequent collaborator Phoebe Waller-Bridge, has been mining for the last couple of years. Jones directed Jack Thorne’s Mydidae and Waller-Bridge’s own Fleabag – the latter also appearing in both – and along with The One, there’s something of a reclamation about the way we discuss sex and relationships, a frankness with a particularly feminist bent which has been most refreshing.
That said, I’m not too sure how I felt about The One – the fierce intensity of Jones’ writing not too well served by the oddly expressionistic touches of Steve Marmion’s production and another performance from Waller-Bridge that occupied much of the aforementioned territory once again, leaving me feeling a little disappointed. The audacity of the piece is often breath-taking as it constantly dares to say the unspeakable and is completely unconcerned with making itself likeable but amongst the desire to shock, I found little that it actually wanted to say. Continue reading “Review: The One, Soho Theatre”
Leanne Best for The Match Box at The Tricycle
Lucy Ellinson for Grounded at The Gate
Vicki Lee Taylor for On A Clear Day You Can See Forever at The Union
Phoebe Waller-Bridge for Fleabag at Soho
Joe Armstrong for The Dumb Waiter at The Print Room
James Cooney for Bottleneck at Soho
Michael Pennington for Dances of Death at The Gate
Jamie Samuel for Jumpers for Goalposts at The Bush
Best New Play
Bottleneck by Luke Barnes at Soho
Jumpers for Goalposts by Tom Wells at The Bush
The Match Box by Frank McGuinness at The Tricycle Continue reading “2014 Offie Award Winners”