Robert Icke adapts Ibsen to create a vividly powerful The Wild Duck at the Almeida – stunning work
“Henrik Ibsen wrote The Wild Duck in 1884”
The Wild Duck may be a nineteenth century play but this is most definitely at twenty-first century adaptation, Robert Icke continuing his astonishing strike-rate of Almeida successes with yet another. This time it is Ibsen under the microscope but a mark of Icke’s seemingly endless invention is that his approach here repeats little of what he’s done before.
So a scalpel-sharp play about truth and lies becomes refracted through the truth and lies in Ibsen’s own life, the parallels between his own illegitimate issue and Hedwig’s situation brought into the light. The first half sees this done through meta-theatrical interjections, house lights up and actors commenting on the action as much as acting itself. Continue reading “Review: The Wild Duck, Almeida Theatre”
“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”
“You let a terrorist’s wife live in your home and you set a murderer free”
Fearless is a new six-part drama on ITV and whilst some people might be excited by the fact that it is written by one of the writers of Homeland (Patrick Harbinson), all right-thinking people will of course be psyched that it is giving Helen McCrory a stonking leading role. She plays human rights lawyer Emma Banville who is utterly unafraid to butt heads with the world as she investigates miscarriages of justice.
Her latest case draws her into the orbit of Kevin Russell (definite fave Sam Swainsbury) whose conviction for murder looks to be a little iffy. With perhaps a little too much ease, she finds it unsafe and secures a retrial but looks set to have opened up quite the can of national security-flavoured worms as a serious-looking transatlantic phone call on a secure line seems to suggest that there is much more to this than meets the eye. Continue reading “TV Review: Fearless Episode 1”
“Yet another everyday story of country folk”
And so Series 2 of Happy Valley winds to a close and you have to hope that the people who acclaim Scandi-noir as the high point of today’s television recognise that this slice of Yorkshire-bleak is just as good, if not better. Sally Wainwright might have thrown some people for a loop by moving (even further) away from straight police procedural to something much more intimate and emotionally complex, placing Sarah Lancashire’s utterly magnificent portrayal of Sgt Catherine Cawood at its very heart. (My thoughts on episode 1 are here.)
“Omnipotent and ubiquitous, God I’m good” she wryly notes as a younger colleague drunkenly praises her at the end of a boozy evening and as the multiple strands of this series slowly began to converge, it was her presence that knitted the whole thing together. Wainwright’s closer hand on the tiller (directing four of the six episodes, all of which she wrote) allowed for some of the bolder moment to really shine, notably the two-handers that opened so many of the shows, a scorching stillness and quietude that underscored much of the horror of policing the Dales. Continue reading “TV Review: Happy Valley Series 2”
“This is sheep-rustling, north-Halifax style – just the one sheep and three lads off their heads on acid”
One of the televisual highlights of 2014 was Sally Wainwright’s Happy Valley, anchored by an astonishing central performance from Sarah Lancashire as pragmatic Yorkshire sergeant Catherine Cawood. So the return of a second series on BBC One is good news indeed, especially given Wainwright’s decision to also direct considerably more of the episodes this time round.
It’s obvious from the off that she is entirely at the top of her game. Reintroducing the startlingly mordant vein of humour on’t’moor, this opening sequence sees Cawood recounting a day’s work to her sister, namely sheep-rustling gone unfortunately wrong on a housing estate but leading to an even grimmer discovery, one which links directly back to James Norton’s Tommy Lee Royce, the father of her grandson after raping her daughter (who then committed suicide) and Catherine’s nemesis from the first series. Continue reading “TV Review: Happy Valley, Series 2 Episode 1”
“Why would he do something like that? We’ve got caravans, we’ve got a games room that caters for people in wheelchairs”
My favourite thing about Happy Valley is actually the association the title has for me and my family – it was the name of the Chinese takeaway opposite my Aunty Jean’s house where we’d often get our Saturday tea. It’s a lovely fond memory that sits rather at odds with the realities of this recent TV series which I finally caught up with and which reunites what looks like becoming one of the best creative partnerships we have in the country – writer Sally Wainwright and actor Sarah Lancashire. Baftas all around I shouldn’t wonder.
The location may be similar to the rather more bucolic Last Tango in Halifax – Happy Valley is set in nearby Hebden Bridge – but we’re in a much grittier world of suburban disillusionment as this police drama takes in kidnap, rape and murder, all underscored by the pervasive influence of a spiralling drugs problem throughout the town. Wainwright being a more sophisticated writer than most though, ensures that her drama takes in the full breadth of the experience, examining the aftermath of the crimes just as much as the deeds themselves. Continue reading “TV Review: Happy Valley”
“For she is changed, as she had never been”
Despite featuring Samantha Spiro as Kate, the Globe’s production of The Taming of the Shrew held little attraction for me when it was announced, and even once it had started. Though, not considered a ‘problem play’ as far as Shakespeare’s canon is concerned, problems tend to arise when productions seek to make sense of its knotty gender politics from a contemporary perspective. Southwark Playhouse and the RSC have recently tried different updated versions but neither one really convinced me. After allowing myself to be persuaded to see it before it finished its run, Toby Frow comes the closest I have seen to making the play work, mainly by – against the above quote – simply leaving it alone.
That’s not to say that there isn’t an immense amount of work that has been done, but rather that this production just takes the play for what it is – a piece of sixteenth century fiction presented as such. And instead of the furrowed brow that often comes with trying to work how misogynistic or otherwise the play or the production is being, there’s a sense of joyous fun as high-octane slapstick, capering about and unbelievably destructive capabilities are the order of the day. Continue reading “Review: The Taming of the Shrew, Shakespeare’s Globe”
“There are over 200 countries in the world and only 8, maybe 9 have nuclear weapons”
The second part of the Tricycle’s The Bomb – a partial history is named Second Blast: Present Dangers and focuses its attention on where the nuclear threat lies now, i.e. in the Middle East and North Korea. Alongside the five plays, there’s more of the verbatim reportage, edited by Richard Norton-Taylor, in this section, effectively deployed to demonstrate the almost ridiculousness of the way in which the debate about Iran and nuclear capability has been framed the US and Israel, and later on to remind us of the official political positions of many of our own leaders in the UK.
Altogether I was a tiny bit disappointed with this half of the day (I’d’ve given it 3.5 stars as opposed to 4 for Part 1) as First Blast: Proliferation had cast its net far and wide to cover five different aspects of the history of the bomb but Second Blast returned time and time again to Iran (3 times in fact) in terms of the present day. Obviously it’s a massive part of where we are in terms of potential instability, but I felt that a more useful eye could have been cast elsewhere as well – in a savage indictment of those countries like Israel and Pakistan who still refuse to sign up to the Nuclear Non-Proliferation Treaty, or indeed a more damning look at those countries that have signed yet show no signs of reducing their stockpile. Continue reading “Review: The Bomb: a partial history – Second Blast, Tricycle Theatre”
“A door always leads to somewhere”
The final piece in the second part of the Tricycle’s The Bomb – a partial history returns to Zinnie Harris with From Elsewhere: On the Watch… where she revisits her characters of Frisch and Peierls from the opening From Elsewhere: a message… The scientists who did so much to advance the initial discoveries around nuclear technology have now been reincarnated as weapons inspectors in Iran who are confronted with the reality of what has been wrought with the revelations that came from their laboratory.
It’s a little heavy-handed in places and again doesn’t really possess much dramatic pull, but ultimately there is much that works about it. Daniel Rabin and Rick Warden has genuine chemistry as old friends who know each other inside out; there’s a deep recognition of the futility of much of the process of inspection, and the sense of unity that comes from revisiting this pair makes as neat an ending as one could have hoped for in such a hugely complex area as is covered altogether here. Continue reading “Review: From Elsewhere: On the Watch…”
“Gentlemen, let the race begin”
Nicolas Kent’s final hurrah at the Tricycle Theatre, which he has patiently nurtured into fine battling form as a theatre really at the cutting edge of hot-topic drama, is this multi-authored two-part epic – The Bomb – a partial history. Inviting nine authors to respond to the debate (or more accurately the lack thereof) around nuclear weapons, Kent has pieced together a stimulating and challenging piece of theatre, divided into two parts, which can be experienced separately on different nights or one after the other on certain days, in a seven-hour marathon, which is how I did it (and probably how I’d recommend to it).
Part one is labelled First Blast: Proliferation and focuses on the period 1940-1992 as nuclear weapons became a horrendous reality as Japan found out to its cost and then a terrible threat to all as the Cold War descended between the superpowers of the USA and the USSR, and more and more countries sought to gain nuclear capabilities for themselves, threatening imbalances right across the globe. The attempts to control the spread of nuclear weaponry is also dealt with as the Nuclear Non-Proliferation Treaty came into being and international pressure exerted to try and bring everyone into the fold. Continue reading “Review: The Bomb: a partial history – First Blast, Tricycle Theatre”