Oof, the start of the downfall…Series 9 of Spooks turns into the Lucas North show with terrible ramifications
“Do you know how I knew it was true? Because for the first time you made sense”
It couldn’t last, two strong series of Spooksback-to-back were undone by the horrors of Series 9. And it needn’t have been this way, it opens with a great 10 minutes. Ros;s funeral! A proposal! Harry as an assassin! Ruth getting called “that dogged, brilliant bitch”! But new head writers Jonathan Brackley and Sam Vincent then have the trickier task of reconstructing a new team, and don’t quite nail it with Sophia Myles’ Beth and Max Brown’s Dimitri only ever appearing in shades of beige.
Worse though, is the shifting of the entire season’s narrative onto Richard Armitage’s Lucas who – dun dun dur – is actually someone else called John Bateman, whose torturously wrangled personal history is dragged out through the presence of Iain Glen’s Vaughan. Undoing all the good work that Armitage had done in building the fascinating ambiguities of Lucas North, the entire John Bateman storyline was a huge mis-step and ultimately indulges Spooks at its worst.
Just look at those beauties! The Olivier-winning Donmar Warehouse production of City of Angels begins previews tonight at the Garrick Theatre.
First seen in 2014, this revival of City of Angels finds stars Rosalie Craig (Company) as Gabby/Bobbi, Hadley Fraser (Les Misérables) as Stine, and Rebecca Trehearn (Showboat) as Donna/Oolie, reprising their roles in the Larry Gelbart-Cy Coleman-David Zippel musical.
Ever behind the curve, I present 10 of my top moments in a theatre over the last ten years (plus a few bonus extra ones because whittling down this list was hard, and it will probably be different tomorrow anyway!)
Extraordinary Public Acts for a National Theatre
The establishment of the Public Acts programme at the National Theatre offered up something sensational in Pericles, an initiative designed to connect grassroot community organisations with major theatres, resulting in a production that swept over 200 non-professional performers onto the stage of the Olivier to create something that moved me more than 99% of professional productions. A truly joyous and momentous occasion.
Artistic Director of the Jermyn Street Theatre, Tom Littler tackles the 10 questions challenge with some real gusto
Tom Littler became AD and EP of the Jermyn Street Theatre in 2017 but his relationship with the theatre goes back way further. And when I asked him to about his memories of Anyone Can Whistle which I noted as my favourite of his productions, this was his response:
“I’m slightly perturbed that you think I peaked in 2010…! That was a memorable time. I remember the three leads, Issy van Randwyck, David Ricardo-Pearce and Rosalie Craig, very clearly. David had a song called ‘Everybody Says Don’t’ – a hymn to anarchy and breaking the rules, but most of all to trying: ‘Tilt at the windmill, and if you fail, you fail.’ That often feels pretty relevant in art and life.”
Where were you 10 years ago?
I was opening a play at the Arcola called Origin of the Species by Bryony Lavery, with Clare-Hope Ashitey and Marjorie Yates. It’s about a prehistoric woman who comes to life. We buried Clare-Hope in sand and the audience had no idea she was there until Marjorie excavated her.
A trio of album reviews cover the (relatively) recently released cast recordings of Company, Follies and Mythic
“One more souvenir of bliss”
I adored Marianne Elliott’s reinterpretation of Stephen Sondheim and George Furth’s Companyon my many visits and so the news of a cast recording was of course ecstatically received. And perhaps inevitably it doesn’t quite live up to the thrill of seeing it live but maybe that’s because the production is still so fresh in my mind. I mean we’re only talking a 4 instead of a 4.5…
I swear Patti LuPone’s ‘Ladies Who Lunch’ was different every time I saw it but this version here is as good as any, with the glorious fullness of her voice pointedly sharpening its wit. Her contributions to ‘The Little Things We Do Together’ are inspired, Jonny Bailey’s ‘Not Getting Married’ is breathlessly affecting and the warmth of Rosalie Craig’s character and voice infuse the whole experience with real quality. Continue reading “Album Reviews: Company / Follies / Mythic”
Tinkle, drizzle, bubble and gush! Alex Ramon, the man forever Boycotting Trends takes up the 10 questions challenge
My world, and the UK theatre blogging scene, has been all the poorer since Alex Ramon swapped London for Łódź. We first bonded over Avenue Q, he introduced me to Propeller and encouraged me out to Richmond more times than is probably reasonable – there’s no-one I’d rather share a show and a Wetherspoons curry with. It is well worth keeping an eye on his ever-eloquent writing at Boycotting Trends.
Just the one more trip to see the glorious Company at the Gielgud Theatre before it sadly depart
“You can’t stay in your thirties forever”
I went back, again. Well I had to, at least while the above quote is still true for me for a couple more months. There’s not much left to say about Company that I haven’t said already here, or here, or here and it remains an absolute pleasure to watch, a show I could sit through time and time again even more so than I have already. It will be very much missed.
And I do think it really has gotten better as the run has progressed, performances deepened and matured, but also deliciously playful – I swear the magnificently brassy Patti Lupone has done something different every single time and it has been wonderful for it. It will be fascinating to see how Marianne Elliot’s production fares on Broadway and who, if anyone, transfers with it. Continue reading “Yet-another-re-review: Company, Gielgud Theatre”
BEST ACTOR IN A SUPPORTING ROLE IN A MUSICAL Jonathan Bailey for Company at Gielgud Theatre
Clive Carter for Come From Away at Phoenix Theatre
Richard Fleeshman for Company at Gielgud Theatre
Robert Hands for Come From Away at Phoenix Theatre