“Now is not the time for your Bronte Sisters-saurus act”
In what’s been a blistering start to the televisual year (Unforgotten, The Moorside), the second series of Paul Abbott’s No Offence is definitely up there, offering at least a little comic relief along with its deadly serious dark side. My views on episode 1 set the tone for the rest to come – the glorious return of the Friday Street team, led by Joanna Scanlan’s inimitable DI Viv Deering, having met their match in the arch-villain Nora Attah, a glorious performance from Rakie Ayola.
And typical of Abbott’s oeuvre, along with his co-writers, there’s a fantastic complexity to his characters. Attah may rule her gangland with a rod of iron, issuing icy reprisals against rivals who dare cross her path, but as subplots about FGM and sexual violence are threaded through the season, there’s strong hints about the harshness of the world that has shaped her. And that makes her the ideal counterpart for Deering’s anarchic policing style, our sympathies caught in the complex conflict between their respective shades of grey. Continue reading “TV Review: No Offence Series 2”
“A police presence is non-negotiable”
Paul Abbott’s No Offence returns for a most welcome second season after a quality Series 1 in mid-2015 added to the purple patch for police procedurals that we seem to be in. Abbott’s spin places us with the Manchester Metropolitan Police and in a world that is equally darkly comic and dramatic as the squad deal with the ramifications of the climax of that first series, as well as keeping an eye on the combustible gangland situation that looks set to involve our guys here.
And what guys – Joanna Scanlan’s almost impossibly charismatic DI Viv Deering as comically sharp as she is whip-smart, Elaine Cassidy’s pragmatic DC Dinah Kowalska and Alexandra Roach’s serious-minded DS Joy Freer underneath her, with Sarah Solemani’s ice-cold DCI Christine Lickberg joining them, providing scarcely wanted oversight and some juicy looking tension. The casual female focus (of the series at large) and refreshing body positivity (of this episode in particular) are just marvellous to behold. Continue reading “TV Review: No Offence Series 2 Episode 1”
Tania Emery’s Working Lunge may only be short but it is perfectly formed as two men try to out-do each other in order to win a job from Jacqueline Boatswain’s boss. All I will say is that I love anything that uses Daniel Crossley to his full advantage – give it a whirl!
Continue reading “Short Film Review #41”
“I’m bored with widowhood”
As the aristocratic Lady Conway, Thelma Barlow’s amusing run through the options open to a rich widow of nearly 70 sets up Mrs Henderson Presents succinctly in its opening moments – Laura Henderson pricks her thumb trying embroidery as a hobby and bristles at the snobbery of the ladies who run charities for the deserving and so is left to spend money as she sees fit, alighting on the derelict Windmill Theatre which she purchases in a moment of inspiration as she passes in her car. Martin Sherman’s script is based on the true story of this woman who became an unlikely theatrical impresario and in director Stephen Frears’ hands, Judi Dench delivers a heart-warmingly cracking performance at the centre of a lovely film.
Set in the late 1930s, the story follows Laura as she and her theatre manager, Bob Hoskins’ cantankerous but inspired Vivian van Damm, set up a continuous variety revue called Revudeville and trying to keep ahead of a market full of copycats, they introduce still tableaux of female nudity into the show which becomes a roaring success. The onset of war casts a heavy shadow though and whilst the show continues, providing much needed entertainment and respite, as the bombs fall on London, the determination that the show must go on puts everyone in serious peril. Continue reading “DVD Review: Mrs Henderson Presents”
“Posh girls don’t hit people”
Series 1 of Suburban Shootout was something of a pleasant surprise, a rather mental British TV series set in the idyllic country village of Little Stempington which is the scene of secret gang warfare between two rival groups of housewives. The first season finished on something of a cliff-hanger and that is where things pick up, with Joyce Hazeldine having to pick up the mantle of leader of the ‘good’ group after Anna Chanceller’s utterly fierce Camilla framed her bitter rival Felicity Montagu’s Barbara Du Prez.
What follows is essentially more of the same, except it just isn’t quite as funny as before, certainly not as compelling now that the novelty has worn off and the writing sadly just feels largely uninspired. The major storyline follows the attempt to get a supercasino built on some treasured wetlands, Barbara’s trials in prison and the struggles of Camilla and Joyce to keep control of their respective situations. But it’s over in six quick episodes and to little real impact. And worst of all, Ruth Wilson is hardly in it. Continue reading “DVD Review: Suburban Shootout Series 2”
“They are women without men, that’s all”
The list of actresses whom I adore is forever growing and changing but certain women remain constant on it, and one of them – who I never thought I would get to see on stage – is Shohreh Aghdashloo. She completely broke my heart in the film House of Sand and Fog (for which she was Oscar-nominated) and then toyed with our loyalties with a brilliant duplicitous turn in series 4 of 24. So when she was announced as taken on the titular role in the Almeida’s new version of The House of Bernarda Alba, I was ecstatic.
Emily Mann’s adaptation relocates Lorca’s Spanish story to rural Iran and changes a few of the names, but largely keeps the architecture of the play intact (although compressed into 95 minutes here). It is a relocation which is extremely successful, the oppression and repression of female sexuality sadly fitting in as easily here as in Catholic Spain and class issues are common across the world, making this a powerfully affecting, beautifully staged and haunting production that lived up to my every expectation. Continue reading “Review: The House of Bernarda Alba, Almeida”