Episodes, in order of preference
World Enough and Time
The Doctor Falls
The Eaters of Light
Empress of Mars
The Pyramid at the End of the World
The Lie of the Land
Top 5 guest spots
1 David Suchet’s Landlord was as perfectly written a character as befits one of our more superior actors
2 Regular readers will know I’m a big fan of Kieran Bew and his astronaut in Oxygen was no exception
3 Nicholas Burns‘ malevolent Sutcliffe was a delightfully Dickensian villain
4 Another theatrical delight of mine is Anthony Calf, impressive as the pseudo-Victorian Godsacre
5 Rebecca Benson’s young Pict impressively led The Eaters of Light from the front, a perfect vessel for Rona Munro’s vision
Michelle Gomez’s Missy has been a brilliant breath of fresh air and whilst her decision to follow Moffat and Capaldi out the door is understandable, it isn’t any less disappointing. And perhaps the timey-wimeyness of the circumstances around her passing mean that maybe this isn’t the last we see of her…
Most wasted guest actor
I don’t what I expected from the reliably excellent Samantha Spiro in Doctor Who but I didn’t get it from her part in The Doctor Falls.
Gay agenda rating
With Bill onboard, A+!
“To do nothing is the hardest job of all”
It’s taken a little time to getting round to watching all of The Crown because, in a first for me, I found it impossible to binge-watch the show. Even with Netflix kindly providing offline downloads just at the point where I had a lot of travelling to do, Peter Morgan’s drama was lots of fun to watch but rarely captured the buzzy energy that has accompanied much online programming. Because it many ways it isn’t like much of Netflix’s previous output, it really is an encroachment into BBC Sunday night and as such, I felt it worked best spread out in almost weekly installments.
That’s partly down to the nature of the subject material, we’re not likely to get many surprises in a detailed retelling of the history of the House of Windsor. But it is also due to Morgan’s writing which tends a little to the formulaic, especially in the middle part of the series, which is when my interest was most in danger of waning. The opening two episodes started brightly but once the shock of becoming monarch was over, the rhythm became very much one of someone close to the queen has an issue and she has to weigh personal desires against public duty, the latter always winning out. Continue reading “TV Review: The Crown, Series 1”
“I feel now the future in the instant”
For one of Shakespeare’s most famous plays, Macbeth is not one that often appears on film screens but Justin Kurzel’s adaptation set that right in 2015 in blistering style. An utterly cinematic version that on paper should raise many a theatre fan’s hackles, its brooding sense of epic danger releases the film into a new dimension, one which may well irk a purist or three but on its own merits, is most darkly compelling.
Kurzel opts for a medieval Scottish setting, a land somewhere between the mythical and the mundane, using some striking Caledonian vistas for location work. The reality of life is shown by the Macbeths’ castle being little more than a collection of mud huts but sweeping shots of mountains and moorsides from cinematographer Adam Arkapaw pull us away into the ether and the red tinges of crimson flame and scarlet blood paint almost expressionistic frames that are just beautiful to behold. Continue reading “DVD Review: Macbeth (2015)”
“Football crazy, football mad”
The World Cup kicks off on Thursday 12th June in São Paolo and will run for a goodly month as 64 games are played throughout Brazil (I’m tipping Bosnia and Colombia to do well, and Rooney to get sent off in his first game). Television and work schedules will be all askew as people try and wrestle with the time difference so the people at Theatre People have teamed up with a starting squad of West End stars to highlight a month of offers and discounts to wide range of shows which offer an alternative to sitting in and watching men in shorts on telly. Continue reading “Fed up with football? World Cup theatre offers”
“I know how good you are to me. I’m grateful”
An unexpected revisit to Let The Right One In, especially since I’d seen it just three days before but @pcchan1981 had a spare £10 ticket going and so I offered myself up as his last resort, happy indeed to have the chance see it again at the Royal Court, ahead of a rumoured West End transfer (the presence of Bill Kenwright as a co-producer suggesting this isn’t as unlikely as it may seem). Original review is here and I can’t really offer up any new insights rather than to say try your best to see it now as it flows beautifully in the relative intimacy of the Royal Court and the awesome staging of the penultimate scene might get lost in a West End house.
Running time: 2 hours 20 minutes (with interval)
Booking until 21st December
“Would you still like me if I turned out to not be a girl?”
Adapted by Jack Thorne from John Ajvide Lindqvist’s novel and its two subsequent film versions, Let The Right One In could be said to fall into the teen vampire genre that has proved so enduringly popular of late, but that would do a huge disservice to all concerned, not least with this National Theatre of Scotland and Royal Court co-production. As two youngsters neglected by society cling onto each other to avoid falling through the cracks in a snow-swept Swedish town where a serial killer appears to be on the loose, they discover that one is not quite like the other…
Directed by John Tiffany with long-time associate Steven Hoggett by his side, the show produces moment after moment of elegiac beauty interspersed with the harsh brutality of real life which intrudes like jagged breaths of wintry air. Hoggett’s unmistakeable physical language is sparingly but beautifully deployed, the strangeness of situation enhanced through movement and Ólafur Arnalds’ score swoops with plangent intensity, underscoring many of the show’s most powerful sequences. Accompanied by Gareth Fry’s evocative sound design, the production constantly teeters on an anticipatory edge, toying with the film’s horror origins but converting it to a more fitting level of suspense for the stage. Continue reading “Review: Let The Right One In, Royal Court”
“You know, Aslan, I’m a little disappointed in you”
Aiming to be one of the theatrical events of the summer (although it has always seemed more of a Christmassy story to me), Rupert Goold has turned his customary directorial flair to his own adaptation of CS Lewis’ quintessential English classic The Lion, the Witch and the Wardrobe. But in choosing to mount this production in the threesixty theatre in the grounds of Kensington Gardens, a rather unforgiving purpose-built circular tent, the show faces an uphill struggle from the start to try and create the sense of theatrical magic and wonder that is needed to transport us through the wardrobe along with the four Pevensie children. NB this was a preview performance.
The show is clearly aiming to be a family-friendly spectacular, the varied inhabitants of Narnia are evoked through a cross between Lion King puppetry and Cirque du Soleil physicality – imaginatively done if that’s your sort of thing, though readers of this blog will know it is not mine, at all – but the soulless atmosphere of the space leads to a rather sterile feel which the cast rarely overcome. Even Adam Cork’s music fails to get the pulse racing (the website says ‘the production is a play but does feature some live music and a pre-recorded fully orchestrated soundtrack’ so we’re clearly in “play with songs” territory rather than fully fledged “musical”) as the rather anodyne songs make little lasting impression and the muddy sound design meant there was precious little lyrical clarity. Continue reading “Review: The Lion The Witch and The Wardrobe, 360 Theatre”