W1A remains entirely watchable in Series 3 but repetition sets in to blunt its comic edges
“It may be the future but it’s still the BBC”
Returning to W1A has been good fun, though watching its three series back-to-back, it is interesting to see just how much it wears its concept increasingly thin. Series 1 was a winner, introducing its cast of misfits all trying to navigate the bureauracy of the BBC and avoid doing as much work as possible but even by Series 2, the strains were clear to see.
John Morton’s Twenty Twelve, the show that kicked off this mockumentary mini-universe, had an inbuilt advantage in that it had a clearly defined end-point, the thing that everyone was working towards. By contrast, W1A has a sense of ambling on which, while perfectly pleasant to watch, means that a terminal case of diminishing returns sets in. Continue reading “TV Review: W1A (Series 3)”
An ensemble cast of some of Britain’s hottest talent will portray the determined and passionate characters behind the daily news at two fictional, competing newspapers in Mike Bartlett’s
, King Charles III
) drama series, Press
, on BBC One.
(King Charles III
, Jonathan Strange & Mr Norrell
) will play the News Editor of fictional broadsheet, The Herald and Ben Chaplin
(Apple Tree Yard, The Thin Red Line
) will play the Editor of fictional tabloid newspaper, The Post, while Priyanga Burford
, King Charles III
) will play The Herald’s Editor. Paapa Essiedu
(A Midsummer Night’s Dream
, RSC’s Hamlet
) will play The Post’s newest reporter and Shane Zaza
(Happy Valley, The Da Vinci Code
) its News Editor; while Ellie Kendrick
(Game Of Thrones, The Diary Of Anne Frank
) will be a junior reporter; Al Weaver
(Grantchester, The Hollow Crown
) an investigative journalist and Brendan Cowell
(Young Vic’s Yerma, Game Of Thrones
) the Deputy Editor at The Herald.
They will be joined by David Suchet (Poirot) who will play the Chairman & CEO of Worldwide News, owner of The Post.
Press will be directed by Tom Vaughan
(Victoria, Doctor Foster
) and produced by Paul Gilbert
Set in the fast-paced and challenging environment of the British newspaper industry, Press immerse viewers in the personal lives and the constant professional dilemmas facing its characters. The series follow their lives as they attempt to balance work and play, ambition and integrity, amid the never-ending pressure of the 24-hour global news cycle and an industry in turmoil.
Press is a Lookout Point, BBC Studios, Deep Indigo production, co-produced with Masterpiece, for BBC One. Executive Producers are Faith Penhale and Mike Bartlett for Lookout Point, Bethan Jones for BBC Studios, Nigel Stafford-Clark for Deep Indigo, Mona Qureshi for BBC One and Rebecca Eaton for Masterpiece. International Distribution will be handled by BBC Worldwide.
Press begins filming in London in October and will broadcast on BBC One in 2018.
“I learned a long time ago not to trust what people tell me”
I did want to love Fearless
, I really did. Any series with Helen McCrory in its leading role has to be worthy of consideration and ITV have been upping their drama game (qv Unforgotten
) recently. But despite an intriguing opener
, the six episodes of Fearless increasingly tested the patience as Patrick Harbinson’s script failed to deliver on its twistily complex promise, instead giving us a fairly run-of-the-mill thriller that ultimately proved less than thrilling.
With a playbook that threw out major themes with regularity – miscarriages of justice, the Syrian refugee crisis, institutional corruption, the war in Iraq, the ethics of the surveillance state, just to name a few – it was inevitable that some would fall by the wayside. But with the amount of personal backstory for McCrory’s Emma also shoehorned in there, the narrative was both painfully overstuffed and sadly inconsequential – it was increasingly hard to know what we were meant to care about.
Continue reading “TV Review: Fearless, ITV”
“I ask no less than power to achieve my will in fair exchange for total service to the state”
Uneasy lies the head that waits for the crown. Mike Barlett’s King Charles III was a deserved award-winning success when it took the Almeida by storm in 2014, transferring into the West End and then Broadway, later touring the UK and Australia too. Its success lay in the conception of a Shakespearean future history play, written in verse but set in a world recognisably our own, where Prince George is nonchalantly eating croissants, Queen Elizabeth II has just passed and before he has even been crowned, Charles finds himself in a constitutional crisis of his own making. A bold but welcome move from the BBC to commission a version then.
Directed as it was onstage by Rupert Goold and adapted by Bartlett (the narrative has been telescoped down by over an hour), it re-emerges as a powerful, pacy drama, a fascinating look into how the relationship between monarchy and government could so easily shift at a time of transition, anchored by an achingly nuanced performance from Tim Pigott-Smith in the title role. The ache is of course deepened by the actor’s death last month but that sadness shouldn’t overshadow the quality of his work here, masterful in his command of the verse, mesmerising as a man trapped by history. Continue reading “TV Review: King Charles III, BBC2”
“Of course I have disposable income, I rent in Zone 4”
It’s black and white – no means no. That should be enough right? Except all too often, sadly it isn’t, and the many different ways in which this is true form the bedrock of Consent, Nina Raine’s new play for the National Theatre, co-produced with Out of Joint. From the multitude of ways in which consent can be exploited by the legal profession in the public sphere, to the brutal, personal intimacy of how it impacts on a disintegrating marriage, Raine plays interestingly and intelligently with shades of grey.
Barristers Ed and Tim are on opposing sides of a rape case and there’s little love lost between them personally either, as the perennially single Tim is a long-term friend of his wife Kitty, who is trying to set him up with another pal, actress Zara (played by the wonderful Daisy Haggard). And as Ed and Tim do battle around the finer points of Gayle’s case – she alleges she was raped on the day of her sister’s funeral – with their focus on legally outmanoeuvring the other rather than on the victim, a twist that puts all their private lives under the microscope shifts their perspective entirely. Continue reading “Review: Consent, National”
Mountains of info was released by the National Theatre about their plans for 2017-18 at this morning’s press conference, so much that I’m still digesting the half of it. Particular stand-outs on the first sift though, are
- Ivo van Hove’s return (after his Hedda Gabler) with a world premiere adaptation of Network, with no less than Heisenberg himself, Bryan Cranston making his UK stage debut
- The cast of Nina Raine’s Consent including Priyanga Burford, Pip Carter, Ben Chaplin, Heather Craney, Daisy Haggard, Adam James and Anna Maxwell Martin.
- The glorious Amadeus returning in the new year, Michael Longhurst’s stellar production wisely keeping its two leads of Lucian Msamati and Adam Gillen intact
- The Headlong co-production of DC Moore’s Common will see Anne-Marie Duff return to the South Bank along with Trevor Fox.
- And Duff is clearly in for the long haul, as she’ll also appear in Macbeth with Rory Kinnear, a taster of which we saw at the Shakespeare Live event
- Cast and creatives for Yaël Farber’s Salomé have been announced too. It is designed by Susan Hilferty with lighting design by Tim Lutkin, music and sound by Adam Cork, movement direction by Ami Shulman, fight direction by Kate Waters and dramaturgy by Drew Lichtenberg. Cast includes Philip Arditti, Paul Chahidi, Ramzi Choukair, Uriel Emil, Olwen Fouéré, Roseanna Frascona, Aidan Kelly, Yasmin Levy, Theo T J Lowe, Isabella Niloufar, Lubana al Quntar, Raad Rawi and Stanley Townsend.More, much more, information after the jump.
Continue reading “News: so much goodness at the National Theatre 2017-18”
Best Supporting Actress in a Play
Daisy Haggard, You For Me For You
There’s no way to describe Haggard’s performance that could do justice to just how accomplished it is. Ostensibly just gibberish, the precise nature of the gobbledygook becomes apparent as her speech slowly modulates into increasingly recognisable English. And all the while as she’s speaking what is essentially another language, she never forgets to extract every exquisite comic detail – just brilliant.
Honourable mention: T’Nia Miller, Eclipsed
As with Wright for Best Actress, it’s a tad invidious to separate out the ensemble of what was my favourite play of the year but the extra dimension that she brought to the show, adding the thoughtful complexity of class division to the mix was an absolute highlight.
Priyanga Burford, The Effect
Estella Daniels, Octagon
Rosalind Eleazor, Plaques and Tangles
Sally Rogers, Hangmen
Adjoa Andoh, A Wolf in Snakeskin Shoes; Zawe Ashton, Splendour; Hélène Devos, Glazen Speelgoed; Ellie Piercey, As You Like It (Globe)
Best Supporting Actress in a Musical
Emma Williams, Mrs Henderson Presents
An actress who deserves to be much better known than she currently is, her latest superlative turn in a British musical might just be the one to push her through to the wider public consciousness, as deservedly so. At one point, a single sustained note from her brought tears to my eyes in seconds.
Honourable mention: Amy Lennox, Kinky Boots
This was probably the closest run of these choices as I loved Lennox’s haplessly quirky turn as Lauren is the very definition of a scene-stealer, none more so than in the glorious ‘The History of Wrong Guys’.
Anita Dobson, Follies
Anna Francolini, wonder.land
Lauren Samuels, Bend It Like Beckham
Lorna Want, Beautiful – The Carole King Musical
Liza Goddard, The Smallest Show on Earth; Preeya Kalidas, Bend It Like Beckham; Anastacia McClesky, Close to You; Victoria Serra, Grand Hotel
“People lie Danny, they lie very well”
Well this was a disappointment wasn’t it, there’s no two ways about it. Tom Rob Smith’s London Spy started its five episode run most promisingly with its forthrightly modern gay love story – between emotionally reclusive Secret Service operative Alex and Danny, a shift worker and regular on the hard-partying Vauxhall gay clubbing scene. Edward Holcroft and Ben Whishaw made a powerfully effective couple, negotiating their differences beautifully and believably so that by the time Alex went missing, the substance of the emerging conspiracy theories actually meant something.
But as the plot wound vaguely into labyrinthine dead ends and red herrings, it became increasingly hard to get a handle not just on what was happening but what Smith was trying to say. And directed in would-be sepulchral (but actually just frustratingly dark) gloom by Jakob Verbruggen, the joys of recognising bits of my local Vauxhall soon wore off as you realised that such a stunning supporting cast as Adrian Lester, Clarke Peters and Harriet Walter were indeed being criminally underused or landed with heinous dialogue and what started off irresistibly disintegrated into implausibility. Continue reading “TV Review: London Spy”
“I can tell the difference between who I am and a side effect”
Lucy Prebble’s The Effect ranked as my 12th favourite play of 2012, Rupert Goold’s Headlong production for the National Theatre proving to be a quietly devastating piece of theatre exploring notions of self and identity through the prism of depression and drugs. Two willing volunteers take part in a medical trial for a new kind of anti-depressant, despite not suffering from depression themselves, and are monitored for any side effects by a doctor and a medical rep who have their own tangled history which further impacts the study.
Stuck in isolation together, guinea pigs Tristan and Connie swiftly fall head over heels – Henry Pettigrew and Ophelia Lovibond giving two stunning performances of a palpable chemistry – and Prebble raises the question of whether love is the drug or is their connection is due to the actual drugs in their veins. From that, she also probes into perceptions of depression – Stuart Bunce’s trial director believes his pill can cure or do anything but sinking into her own bleak mental morass, Priyanga Burford’s achingly fragile Dr James isn’t so sure.
Daniel Evans’ production is beautifully cast – all four actors play the twists of character astutely and assuredly as priorities shift and relative truths come to light to shattering effect. Without giving anything away, it is a stunningly powerful ending in all its hushed beauty as science and sympathy battle and heartstrings tugged mercilessly. Amanda Studley’s design for the Crucible’s Studio space plays effectively on hospital waiting room and clinical atmospherics to suggest we could well be a part of this or the next trial, David Plater’s lighting adding to this unremitting feel.
The Effect might even be better now than it was 3 years ago, about 30 minutes or so has been junked from the running time which certainly helps, but it also really benefits from the intimacy here. Whether the anguish of Burford’s increasing inability to cope or Pettigrew and Lovibond showing us just how mysterious the human mind is with or without chemical alteration, this is an exceptional revival.
Running time: 2 hours 10 minutes (with interval)
Booking until 18th July