Bodyguard reaches a thrilling climax that is sure to disappoint some but left me on the edge of my seat
“I wanted to know who did it, I don’t know who did it”
Except we do finally know who did it. Jed Mercurio’s Bodyguard – an unexpected massive hit and a reminder that the appointment-to-view model is far from over – reached its climax tonight in typically high-tension style, confounding expectations to the end and dashing the dreams of many a conspiracy theorist to boot. Seriously, so glad that Julia Montague remained dead (at least until a sequel is announced and we have to go through this whole farrago again).
And though it is bound to have its detractors, I have to say I found it all hugely entertaining. If it just wasn’t realistic enough for you, then WTF are you doing watching dramas? If you’re getting swept up in locations in this fictionalised version of London not being where they are in real life, turn the damn thing off! Its not for everyone, that’s absolutely fine, but you don’t have to drag everyone else down with your misery. Continue reading “TV Review: Bodyguard Series 1”
Jed Mercurio hits the mark once again with new drama Bodyguard, led by two excellent performances from Kelley Hawes and Richard Madden
“Looks like the Home Secretary couldn’t be in safer hands”
The weather taking a turn for the blessedly British feels like a most appropriate herald for the return of proper drama to our tellyboxes and first out of the gate for this year’s slate of autumn dramas is Jed Mercurio’s Bodyguard with a properly nail-biting opening 20 minutes which serve as a remarkable statement of intent for this series.
In an expertly tense sequence, Afghan vet turned special protection officer David Budd (Richard Madden) negotiates the peaceful surrender of a suicide bomber of a train in Euston. The perpetrator(s) (as it turns out) may be Islamists but its the gung-ho approach of the police that emerges as much as a threat to a peaceful resolution. Continue reading “TV Review: Bodyguard, BBC1”
“This is something I can’t ignore”
Typical really, the first series of Scott & Bailey that I actually get to watch live on air and it’s the first one that disappointed me. I caught up quickly with the first three over the last few weeks so that I would be up to speed with Series 4 but all in all, I didn’t feel like it was up to the standard. No real overarching story emerged across the eight episodes and without the heightened drama that would have added, this just felt like a retread of some of the same old plot points.
An ill-advised affair with a colleague, a promotion not taken due to personal circumstances, Janet’s kids playing up, tough but tender relations with Gill…it does feel like we’ve been here before. And though there are new twists, none of them really took flight – Rachel’s step up to sergeant never really foregrounded, a hint of romance for Janet left until the very end. The individual cases that came up maintained the usual level of interest but something was lacking in the end. Continue reading “TV Review: Scott and Bailey Series 4”
“You went to live with a fella in Wigan, I assume he had a roof”
As with so many television programmes these days, it has taken me an inexplicably long time to get around to watching Scott and Bailey and sure enough once I started, I found myself mainlining all three series in advance of the new series starting on ITV. And sure enough, I loved it. Sally Wainwright is one of our best writers of television without a shadow of a doubt and no matter what she turns her hand to, she barely puts a foot wrong, all the while pushing the boundaries of conventional drama to become infinitely more inclusive, whether through the older characters of Last Tango in Halifax or the fierce and flawed policewomen of Happy Valley and Scott and Bailey.
Scott and Bailey grew out of an original idea by Suranne Jones and Sally Lindsay which Wainwright has written up into three (plus one to come) series of fantastic television. Janet Scott and Rachel Bailey are both DCs in the Manchester Metropolitan Police, part of the MIT team that deals with serious crime. And though it may seem trivial to say it, it is just so brilliantly and so casually feminist. The vast majority of the major roles in the police force just happen to be taken by women – Amelia Bullmore’s DCI Murray heads up the team, Pippa Haywood’s DSI Dodson is the next later up, the main pathologist goes by the name of Scary Mary…and none of it is ever an issue.
Continue reading “DVD Review: Scott and Bailey Series 1-3”
“Love between sexes is war”
Laurie Slade’s adaptation of Strindberg’s The Father was commissioned for Coventry’s Belgrade Theatre last year, but now makes its radio debut as part of Radio 3 season of classics focusing on the changes for women in the late nineteenth century. It is a blistering look at the power struggle in a marriage as two middle-class parents differ hugely on the upbringing of their daughter and clash monumentously in an all-out war to get their own way.
The decks are hardly equally stacked in this version of the battle of the sexes, Strindberg’s own response to Ibsen’s novel take on gender relations in A Doll’s House, as Laura unleashes the limited tools at her disposal to blacken the name of the Captain and cast seeds of doubt about the paternity of Bertha, literally stopping at nothing as the thin line between love and hate drives her to ever more extreme action.
Katy Stephens and Joe Dixon are excellent as the married couple, inextricably linked even as they devour each other and completely unable to step back from their course of action – it’s uneasy listening at times, the charge of misogyny is easily laid at this door, but it is a story and not all women are nice, just as not all men are. What is important is that it sets up this inventive take on marital conflict that burns extremely brightly.
The Broken Word
was Tim Fould’s adaptation of his own poem into a rather distressingly bleak tale set during the horrendous colonial violence of the Mau Mau uprising in 1950s Kenya. A young white man returns to his African home in the summer before his departure to university yet finds himself swept up in the vigilantism of the time as the British community took up arms against the Kenyans fighting for independence and satiated their bloodlust whilst the last days of empire still allowed them to.
Fould’s richly dense prose is narrated beautifully by Anton Lesser, highlighting the corruption of basic morality in this narrow-minded world, and later the impact that surrendering to such merciless thrill-seeking had on people such as Gunnar Cauthery’s Tom upon returning to ‘normality’. Brutal but necessary.
“It is fair to say at that stage Gorge’s judgement became…clouded”
Already reeling from the news that the play was running at 3 hours long despite the 8pm start time, the further blow of a half-hour long opening scene that recalled nothing so much as the central section of the divisive In The Republic of Happiness meant that Dennis Kelly’s The Ritual Slaughter of Gorge Mastromas had it all to do to win me over. The play marks the official ‘regular’ debut of new AD Vicky Featherstone after Open Court, the wide-ranging writers’ festival that occupied the Royal Court over the summer and rather than being a bold statement of intent of a new and different era, it’s an arguably gentler transition for a theatre already accustomed to the adventurous tail end of Dominic Cooke’s reign cf: Republic, Narrative, The Low Road. The fiddling with the start times does look here to stay though – in this season, the majority of shows upstairs are starting at 7.30pm, and downstairs at 8pm.
And as with much of this kind of theatre, it provokes a Marmitean reaction. Many laughed heartily all night long and lapped it up, I was left cold by its strained theatricality and languorous verbosity. This interview with The Observer reveals that the play was originally written for a theatre in Germany and in retrospect, that makes sense. The story of Gorge stretches over the whole 80 years of his lifetime but is played out in just a handful of lengthy scenes, key encounters that shape his existence as he comes of age in a time of rampart capitalism and is offered the Mephistophelian opportunity to have it all and more. Three grasping golden rules govern his ethos, maxims such as “whenever you want something – take it” but as greedily huge success comes his way, the cocoon of well-designed lies upon which it is built starts to crumble. Continue reading “Review: The Ritual Slaughter of Gorge Mastromas, Royal Court”
“Is that agreeable?
‘Oh yes, ooh yes’”
To the few regular readers of this blog, it will be no surprise that I am missing Elliot Cowan’s presence on the stage. He’s currently filming a TV series of Sinbad and so in order to get my fix (plus while away a train journey or two), I decided to revisit the TV show in which he made his first major impact on me, Lost in Austen. Man-crush aside, this show also fed my girl-crush on Jemima Rooper – someone I’ve liked for ages – and started a new girl-crush on Gemma Arterton – I’m pretty sure this was the first time I saw her in anything and so has to rank as one of my favourite pieces of TV entertainment in recent years. It was a four-part drama on ITV in 2008 written by Guy Andrew and is basically a fantasy version of Jane Austen’s Pride and Prejudice.
Amanda Price – Rooper – is a modern-day city girl who is obsessed with the book and through a portal that mysteriously appears in her bathroom, finds herself swapping places with Elizabeth Bennett and living the story that she knows far too well. But as any Doctor Who fan will tell you, you can’t go round meddling in alternative timestreams and though the set-up is entirely familiar to Amanda, the very fact of her presence in Lizzie’s stead kicks off a chain of events that knocks all the dominoes off-kilter, her manipulations never quite going right with nothing playing out like she thought it would: not least with her own tumbling head-over-heels for this version of Mr Darcy, which considering it is Elliot Cowan, that is no surprise at all. Continue reading “DVD Review: Lost in Austen”
“You’re just a sex object, no-one would have you”
I did a lot of travelling this weekend so I got to catch up on a fair bit of DVD watching on the train: some were directly theatre-related and others not, but the cast of Tamara Drewe was so thesp-heavy I couldn’t resist jotting down a few thoughts about this film. Any film that opens with a shirtless Luke Evans and having his role as a sex object acknowledged within the first 15 minutes is surely onto a good thing and combined with Roger Allam’s deliciously fruity turn of phrase, the film made a bright start which endeared me greatly.
The film, directed by Stephen Frears, has a screenplay by Moira Buffini derived from Posy Simmond’s graphic novel-style drawings and is set in the sleepy village of Ewedown where everyone knows each other’s business and can’t help but poke their nose in. When Tamara, an appealing turn from Gemma Arterton, returns after her mother’s death to sell up the old family house, she thinks that she’ll be heading straight back to her adopted London lifestyle, but a new affair with rock star Ben, Dominic Cooper in fine form, keeps her a little longer and allowing old feelings and passions to stir in several men of the village, making life most complicated for all. Continue reading “DVD Review: Tamara Drewe”
“Sex shouldn’t have to feel like homework”
Wanderlust, the new play from Nick Payne opening upstairs at the Royal Court, carries a warning of nudity and scenes of an adult nature. Frankly, having seen the second preview, it smacks of many a play advertising full frontal nudity in order to whip up a few headlines and controversy and hopefully translate it into ticket sales. It has clearly worked here as there’s already limited availability for the entire run but it wouldn’t surprise me if tickets start to become available once word spreads.
The Richards family: Joy and Alan married for 24 years but haven’t had sex for 12 months and their 15 year old son Tim, desperate to get his first hands-on experience of the facts of life. Whilst looking at ways of trying to rescue their relationship, the sexually frustrated Alan has his eye turned by a colleague who needs comforting after witnessing another teacher pleasuring himself in a classroom after hours; the sexually repressed Joy has her own distraction in the shape of an old flame appearing at her surgery needing treatment for a sensitive matter, but interested in much more and the would-be sexually active Tim turns to his best (female) friend Michelle to show him the ins and outs of sexual congress so that he won’t disappoint an older girl he wants to seduce. As we follow each of them on their journeys, Payne purports to look at the relationship between sex and intimacy and the role each plays in relationships.
Continue reading “Review: Wanderlust, Royal Court”