Glenda Jackson is brittle and brutal in the excellent Elizabeth is Missing
“How about some Vera Lynn?”
True story, I’ve read Emma Healey’s novel Elizabeth is Missing and can’t remember anything about it, how’s that for dramatic irony… So Andrea Gibb’s adaptation for the television, directed by Aisling Walsh, held layers of mystery for me, as this murder mystery framed through the lens of dementia intersected with my own hazy recollections of what I thought was slowly coming back to me.
That murder mystery element is the driving narrative force across the two timelines of the drama. Grandmother Maud is trying to find out what has happened to her gardening pal Elizabeth who has vanished, but she’s haunted by memories of the disappearance of her sister Sukey 70 years ago and hampered by the onset of Alzheimer’s which is ravaging her life and her independence. Continue reading “TV Review: Elizabeth is Missing”
“Is it just road-making that’s put you in such a good mood?”
Richard Eyre’s revelatory take on Ibsen’s Ghosts was a deserving multiple Olivier winner last year so it is little surprise to see the Almeida asking him back for more, this time taking on one of his later plays Little Eyolf. And as with Ghosts, the play has been coaxed and condensed into interval-free intensity, the perfect frame for its arresting modernity.
And it is surprising, as though written in 1894, its portrayal of fraught sexual tension in a marriage is as direct and frank a exploration of female sexuality (and sexual desire) as any playwright has come up with since. In the cooling calm of Tim Hatley’s set, Rita Allmers is a wife and mother but finds those roles in conflict as she resents son Eyolf for distracting husband Alfred’s attentions away from her. Continue reading “Review: Little Eyolf, Almeida”
“I will not allow a woman’s nature to be more unconstant than a man’s”
This was actually my first interaction with Persuasion, the novel has languished on my bookshelf for years and I’ve never seen an adaptation before, so it was an interesting experience to take the story in for the first time with this ITV adaptation starring Sally Hawkins and Rupert Penry-Jones. Simon Burke’s adaptation condenses Austen’s work right down to 90 minutes, which means a lot may well have been lost, but it also made a great introduction for a novice.
After an engagement with Captain Frederick Wentworth eight years ago which crumbled in the face of her family’s disapproval, Anne Elliot finds herself on the shelf at 27. When her father and sister’s lavish lifestyle requires a downsizing of their household, life seems set to change for good as their beloved Kellynch Hall has to be let out to tenants. But the world is a small place and the connections that emerge between her sister’s household where she goes to stay and the new tenants, the Crofts, ensure that the past is not so easily left behind. Continue reading “DVD Review: Persuasion (2007)”
“I feel like I’ve been running my whole life from this”
Cohu’s biggest TV show of recent times is probably Lightfields, conceived as a follow-up to the rather successful Marchlands of a couple of years ago, and occupying very similar ground of supernatural phenomena haunting the same property through different time periods. A remote farmhouse in Suffolk is the setting, the building named Lightfields, and as a young woman dies in mysterious circumstances in a wartorn 1944, the repercussions are felt by a mother and daughter who stay there for the summer in 1975 and also by the family who are running it as a bed and breakfast in 2012. The ghosts of the past weigh heavily on all concerned as in all three eras, the search for the truth as to what happened puts several people in danger.
I really enjoyed Marchlands so I was a little sceptical to hear that a sequel of sorts had been planned one which seemed to repeat the same format. And though it was mostly enjoyable to watch, I did find it to be not quite on the same level as its predecessor. For a start, it had far too many characters in the 1944 slot alone, I couldn’t get a bearing on who was who even when they were right in front of me, never mind when older versions of them appeared in the later time periods – I felt like I needed to write down a list of everyone as it always felt overly cluttered, with too many story strands feeding into both the 1944 and 2012 slots and leaving the overall feel of the programme as rather confused. Continue reading “TV Review: Lightfields”
“Whitechapel calls you back”
Victorian crime procedural Ripper Street burst onto our screens at the beginning of this year with a blood-spattered élan and a perhaps more violent streak than many were expecting, but it grew to be a most successful series with audiences (and me) and has since been renewed for a second series. Set in Whitechapel, the first episode had a Jack the Ripper focus, which with the title of the show, proved a bit of misdirection in terms of the series as a whole as the crimes that H Division ended up investigating were of a hugely wide-ranging nature and not just focused on the notorious serial killer (although the Ripper’s exploits did form a backdrop to part of the series-long arc).
It’s a period of history, and particularly social history, that I have long found interesting (I studied it as part of my degree) as notions of crime and punishment were rapidly changing and the nature of policing was also changing with the introduction of a more scientific approach to solving crimes. So Matthew Macfadyen’s DI Reid and Jerome Flynn’s DS Flynn are joined by US army surgeon Captain Jackson, played by Adam Rothenburg, as they work their way through the serious crimes, civil unrest, and personal vendettas that crop up on a weekly basis. Continue reading “TV Review: Ripper Street Series 1”
“I’ve listened to all the stories of my generation, then watched ’em get sick or fade away. And it wasn’t this world that killed ’em. It was the other… the memory of it.”
Wandering into the Old Vic Tunnels and being directed towards the section with the seats where the action takes place, one walks past a collection of several strikingly constructed images and montages, animal skins, a cat’s cradle of ropes and lastly a hanging, dissected tree being the most stunning, it wouldn’t look out of place in many a modern art gallery. It’s a highly effective way of setting a suitably atmospheric mood upon entering the complex to see Ditch, the collaboration between the Old Vic and HighTide, but sadly not one which is maintained.
Ditch is set in a post-apocalyptic Britain, the government has largely fallen, violence reigns but a small group of people in the North have banded together in an attempt to keep civilisation going. It’s depressingly reminiscent of Your Nation Loves You, the previous production to take up residence beneath Waterloo, and one which did not go down well in this household. Still, I was determined to give this venue another chance as I can see its potential and hoped that Ditch would be an enlightening experience for me in that respect. Continue reading “Review: Ditch, Old Vic Tunnels”
“I feel like my soul has been bathed in acid”
You know there is a problem when a phrase like the above resonates strongly with you during a play… After a successful take on events post-Macbeth in Dunsinane comes Dennis Kelly’s The Gods Weep which is very heavily inspired by Kurosawa’s film Ran, which was in turn was influenced by King Lear. Admittedly this was a first preview, but at close to four hours long, and full of chaotic fighting, much blood, dead cats and squirrels and an inordinate amount of swearing, this had the amazing effect of making me actually want to watch paint dry instead: it’s not only the gods who will be weeping by the end of this run.
Replacing the feudal kingdoms of Lear/Ran with its modern-day equivalent, a multi-national corporation, the CEO Colm decides that after a lifetime of building an empire through brutal and savage means, it is time to relinquish power to his two subordinates. However in doing so, he unleashes a bloody power struggle between the two rivals with truly devastating consequences and ramifications which force Colm to face up to a lifetime of questionable decisions. Continue reading “Review: The Gods Weep, RSC at Hampstead Theatre”
“Foxes their dens have they
Birds have their nests so gay
But the son of man
Has not where his head may rest.”
The York Realist is one of Peter Gill’s most well-known plays, and was revived here at Hammersmith Riverside Studios, a theatre co-founded by Gill, as part of his 70th birthday celebrations.
It tells the story of George, a Yorkshire farm worker content with his lot in life, until his participation in a production of the York Mystery Plays throws open a new world of possibilities and choices. He discovers a talent for acting, and a relationship with the assistant director blossoms, leading him to the chance of a career acting on the stage in London. But his ties to his home life are incredibly strong, most notably in the form of his ailing mother, and George finds himself torn between these two worlds, these opposing facets to his life which he finds impossible to reconcile. Continue reading “Review: The York Realist, Riverside Studios”