TV Review: The Split / The Good Fight

If female-fronted lawyer shows are your bag (and why wouldn’t they be!), the twin joys of The Split and The Good Fight have marvellous to behold

“Kill all the lawyers”

If I’m completely honest, Abi Morgan’s The Split did leave me a tad disappointed as it veered away from its legal beginnings to something considerably more soapy over its six episodes. The personal lives of the Defoe clan well and truly took over at the expense of any of the cases they were looking after and even if that family includes Nicola Walker, Annabel Scholey and Deborah Findlay, it’s still a bit of a shame that it ended up so schlocky. Continue reading “TV Review: The Split / The Good Fight”

TV Review: The Split, BBC1 (Episode 1)

All hail the return of Nicola Walker to our TV screens in new Abi Morgan drama The Split

“Divorce shouldn’t be easy”

Just a quickie to cover the first episode of this new legal drama which looks extremely promising, not least because of a swooningly wonderful cast. The aforementioned Nicola Walker, Annabel Scholey and Fiona Button as sisters, the ever-marvellous Deborah Findlay as their fearsome mother, people like Stephen Tompkinson and Meera Syal as clients, hunky Dutchmen like Barry Atsma looming on the sidelines, and the likes of Rudi Dharmalingam and Kobna Holdbrook-Smith also on the fringes. 

Photograph: Mark Johnson/BBC/Sister Pictures

Full cast announced for the West End transfer of Mary Stuart.

The full cast has been announced for the West End transfer of Robert Icke’s new adaptation of Mary Stuart. Following a critically acclaimed, sold out season at the Almeida Theatre in 2016-17, the production will open at the Duke of York’s Theatre from 15 January for a limited run before visiting
Theatre Royal Bath, Salford Lowry and Cambridge Arts Theatre.

As previously announced, Juliet Stevenson and Lia Williams reprise the play’s central roles. Also reprising their roles are Rudi Dharmalingam (Mortimer), David Jonsson (Davison), John Light (Leicester), Carmen Munroe (Kennedy), Eileen Nicholas (Melville) and Daniel Rabin (Kent).

Joining the cast are Michael Byrne (Talbot), Christopher Colquhoun (Paulet), Calum Finlay (Aubespine) and Elliot Levey (Burleigh).

Two queens. One in power. One in prison. It’s all in the execution.

Schiller’s political tragedy takes us behind the scenes of some of British history’s most crucial days. Playing both Elizabeth I and Mary Stuart, Juliet Stevenson (Hamlet) and Lia Williams (Oresteia) trade the play’s central roles, decided at each performance by the toss of a coin.

Get your tickets here and have a read of my review from the Almeida here.

Countdown to new Who: Doctor Who Series 7

“It is known that the Doctor requires companions”

Right – the first season that I haven’t rewatched any of at all. Things get a bit hectic here as once again, the series got split in two, accommodating the mid-season departure of Amy and Rory and the (re-)introduction of new companion Clara Oswald, plus a pair of specials respectively marking the 50th anniversary of Doctor Who and the end of Matt Smith’s tenure as Eleven. It all adds up to a bit of a bloated mess to be honest, though not without its high points.

Amy and Rory feel a little ill-served by their final five, the introduction of Mark Williams as Rory’s dad detracts from their screen-time (yet he doesn’t feature in their farewell?), though the return of the Weeping Angels gives their noirish NY-set exit episode some real heft. And though I admire Jenna Coleman’s confident take on Clara, she’s a hard companion to warm to without any contrasting humanity to go with her intelligence and intensity.

The ‘Impossible Girl’ arc didn’t really tick my box and the grandiosity of Moffatt’s writing for the finale of The Name of…, The Day of… and The Time of the Doctor doesn’t really help (I was curiously unmoved by all the fan-service second time round). Still, Gatiss knocks it out of the park with the superb Ice Warrior tale Cold War and bringing mother and daughter Dame Diana Rigg and Rachael Stirling together on screen for the first time.  Continue reading “Countdown to new Who: Doctor Who Series 7”

Dispatches from the Vaults #2

“I didn’t think you all look the same”

I saw Tim Foley’s Astronauts of Hartlepool at the end of a long weekend and truth be told, I was just too tired to enjoy it properly. I’d love to read it and see it again, and then probably read it again, to get a fuller appreciation of how complex its hour. Layers upon layers are built up by Foley in his political sci-fi epic (Battlestar Galactica (the remake) as done by BBC3) in which Sophie Steer’s Aidan encounters multiple versions of Rakhee Thakrar’s dimension-hopping Nadia. They always meet in Hartlepool but all is not what it seems, even for the Brexit-voting North-East and Foley intelligently works in a deep critique of where we’ve let our country get to as well as keeping the tone admirably light. I just need to be less tired so I can concentrate more, sorry y’all.

Borderland/Calais was formulated as a response to not just the closure of the Calais refugee camps but also the media coverage thereof, using verbatim theatre techniques to give voice to those disenfranchised, dehumanised, demonised even by being part of what could be called one of the great humanitarian crises of the 21st Century. Over the week of the run, the programme featured a range of guest performers, from Rudi Dharmalingam, Lucy Ellinson and Yusra Warsama, to Denise Gough and Vera Chok who I saw deliver Borderland, written by Prasanna Puwanarajah and Stephanie Street, and Inua Ellam who performed Calais, woven from the Twitter Feeds of the Help Refugees and the Refugee Info Bus by Maddy Costa. Continue reading “Dispatches from the Vaults #2”

fosterIAN awards 2016

 WinnerRunner-upOther nominees
Best Actress in a PlayJuliet Stevenson/Lia Williams, Mary StuartUzo Aduba/Zawe Ashton, The MaidsGemma Arterton Nell Gwynn,
Linda Bassett, Escaped Alone
Helen McCrory, The Deep Blue Sea
Maxine Peake, A Streetcar Named Desire
Harriet Walter, The Tempest
Best Actor in a PlayO-T Fagbenle, Ma Rainey's Black BottomLucian Msamati, Ma Rainey's Black BottomPhil Dunster, Pink Mist
Paapa Essiedu, Hamlet
Rhys Isaac-Jones, Jess and Joe Forever
Lucian Msamati, Amadeus
Danny Sapani, Les Blancs
Best Supporting Actress in a PlayJade Anouka, The TempestLizzy Connolly/Amanda Lawrence, Once in a LifetimeNadine Marshall, Father Comes Home From The War (Parts 1, 2, and 3)
Tanya Moodie, Hamlet
Siân Phillips, Les Blancs
Rachael Stirling, The Winter's Tale
Susan Wokoma, A Raisin In The Sun
Best Supporting Actor in a PlayPeter Polycarpou, Scenes from 68* YearsAnthony Boyle, Harry Potter and the Cursed ChildRudi Dharmalingham, Mary Stuart
Dex Lee, Father Comes Home From The War (Parts 1, 2, and 3)
Nick Fletcher, The Deep Blue Sea
Jonjo O'Neill, Unreachable
Alan Williams, Mary Stuart
Best Actress in a MusicalJenna Russell, Grey GardensClare Burt, Flowers for Mrs HarrisSamantha Barks, The Last 5 Years
Glenn Close, Sunset Boulevard
Kaisa Hammarlund, Sweet Charity
Cassidy Janson, Beautiful
Landi Oshinowo, I'm Getting My Act Together...
Best Actor in a MusicalLouis Maskell, The Grinning ManAko Mitchell, RagtimeDeclan Bennett, Jesus Christ Superstar
Dex Lee, Grease
Hugh Maynard, Sweeney Todd
Charlie Stemp, Half A Sixpence
Mark Umbers, She Loves Me
Best Supporting Actress in a MusicalJennifer Saayeng, RagtimeVictoria Hamilton-Barritt, Murder BalladJosie Benson, Sweet Charity
Sheila Hancock, Grey Gardens
Rachel John, The Bodyguard
Katherine Kingsley, She Loves Me
Gloria Onitiri, The Grinning Man
Best Supporting Actor in a MusicalJulian Bleach, The Grinning ManTyrone Huntley, Jesus Christ SuperstarAdam J Bernard, Dreamgirls
Daniel Crossley, Sweet Charity
Stuart Neal, The Grinning Man
Dominic Tighe, She Loves Me
Gary Tushaw, Ragtime

2016 Best Supporting Actor in a Play + in a Musical


Best Supporting Actor in a Play

Peter Polycarpou, Scenes from 68* Years
In the midst of a heartbreaking play (by Hannah Khalil), Polycarpou’s contributions to the multi-stranded narrative were more heartbreaking than most – agonisingly, beautifully evoking the Palestinian struggle in the most heartfelt way.

Honourable mention: Anthony Boyle, Harry Potter and the Cursed Child
We may be being urged to #keepthesecrets, but there’s no mystery that Boyle has been the breakout star of Cursed Child as Scorpius Malfoy, especially when the homoerotic undertones are more like overtones in the first part.

Rudi Dharmalingam, Mary Stuart
Dex Lee, Father Comes Home From The War (Parts 1, 2, and 3)
Nick Fletcher, The Deep Blue Sea
Jonjo O’Neill, Unreachable
Alan Williams, Mary Stuart

8-10
Robert Hazle, Home Chat; Tobias Menzies, Uncle Vanya; Paul Thornley, Harry Potter and the Cursed Child

 

Best Supporting Actor in a Musical

Julian Bleach, The Grinning Man
As the Machiavellian manservant Barkilphedro, Bleach was deliciously arch throughout this captivating show and as his grasping ambitions brought him to the centre of the action, it was hard not to be slightly seduced by his awfulness.

Honourable mention: Tyrone Huntley, Jesus Christ Superstar
In an extraordinarily good company revitalising Lloyd Webber, Huntley was a stellar presence alongside Declan Bennett’s Jesus, a real thorn in his side. But now he’s firmly ensconced in Dreamgirls, will he be joining the shows return to the Open Air next summer?

Adam J Bernard, Dreamgirls
Daniel Crossley, Sweet Charity
Stuart Neal, The Grinning Man
Dominic Tighe, She Loves Me
Gary Tushaw, Ragtime

8-10
Peter Caulfield, Jesus Christ Superstar; Michael Esper, Lazarus; Thomas Howes, The Wind in the Willows

Review: Mary Stuart, Almeida


“The Queen? Which Queen?”

Robert Icke’s Mary Stuart is a towering success, an extraordinary piece of theatre that surely ranks amongst the year’s best, no mean feat considering his Oresteia, also for the Almeida, did the same thing last. There’s added spice here too since leading players Lia Williams and Juliet Stevenson do not know which of Queen Elizabeth I and Mary Queen of Scots they will be playing until the beginning of the performance when it is decided with a coin toss. And so too, dear reader, must you decide…

 

Heads          Tails

News – more tickets for Mary Stuart released today


“It’s all in the execution”

Aside from an excuse to use one of the greatest publicity shot ever created in our lifetimes, courtesy of Miles Aldridge, this is actually a public service announcement to let you know that more tickets for Mary Stuart will go on sale at 10am today (Monday 5th December). And  a little bird can tell you that since the show is pretty much in the round, the new seats that they’ve added in the Stalls (Section C) are really rather good as you’re very close to the action. (Sightlines are affected occasionally esp in final scene so I’d opt for 3-4 or 31-32 if you can). That little bird might also tell you to book now for the love of God, tickets will be like gold dust!

Running time: 3 hours 20 minutes (with interval) (subject to change)
Booking until 21st January

Mary Stuart – heads you win


“We are both queens”
 

There’s much to enjoy about this Mary Stuart but what is particularly pleasing to see is Robert Icke’s directorial instincts developing and maturing. The production opens with Tim Reid’s live video, capturing the opening gambit, but cannily isn’t used again until a key counterbalancing action later on; likewise original compositions from Laura Marling are quite the coup but again are used sparingly, wisely, at two crucial and contrasting moments. The timestamping of each act over a more or less 24 hour period measures out a steady but always forceful sense of pace – Icke has always been a strikingly effective director but the less is more ethos espoused here is singularly superb.

So too with the political overtones of his adaptation, everywhere you look contemporary resonances can be found but they’re never overplayed. The 52% are hauled over the coals when “a majority does not prove a thing is right”; the dangers of riding roughshod, Trump-like, over the tenets of “international laws” are explored; the doublespeak (or rather non-speak) of ‘Brexit means Brexit’ finds a chilling partner in Elizabeth’s determination to shift the responsibility of the death warrant onto her man Davison, surely no accident that his modern-day equivalent is called David Davis… Continue reading “Mary Stuart – heads you win”