Series 2 of Liar shifts the focus from rape to murder but does little to raise this from bog-standard thriller territory
“Sometimes bad things happen and we just have to deal with them”
Was the world calling out for a second season of Liar? When the first apparently did such great numbers for ITV, it seems the decision was inevitable but it has taken more than two years for it to arrive and I’m not sure that it carries the same level of impetus with it – I don’t imagine ratings will have held up to anywhere near the same degree.
That first series did show much promise, complicating a rape story by presenting a he said/she said narrative that asked some big questions. But midway through, Liar tipped its hand and ended up as a bog-standard thriller and it is in that same spirit that it continues here. A bit of story-telling trickery allows for Ioan Gruffudd’s Andrew to return alongside Joanne Froggatt as Laura but I have to say I really wasn’t gripped. Continue reading “TV Review: Liar Series 2”
With Katie Brayben in the lead cast and a cameo from Sinéad Matthews, A Serial Killer’s Guide to Life has many a visceral treat
“Next stop, inner serenity”
Released digitally earlier this year, A Serial Killer’s Guide to Life is the kind of spunky indie Brit-flick you’d be more than happy to watch of an evening, without necessarily having deliberately searched it out. The debut long-form feature from writer/director Staten Cousins Roe, it’s the kind of short but sharp black comedy that could well find it building cult status.
Stuck in a dead-end life and living with her over-bearing mother, Lou seeks refuge in listening to various self-help gurus but it isn’t until she attends a seminar and meets the alluring life coach Val IRL that things start to change for her. This journey of self-discovery is not your usual fare though, as Val encourages Lou to take no shit as they scythe their way though the wellness industry that has popped up in the Sussex countryside. Continue reading “Film Review: A Serial Killer’s Guide to Life (2019)”
James Graham’s Quiz makes a marvellous leap from stage to screen
“People still want to gather as a nation, to experience something big together”
Not a huge amount to say about the TV adaptation of James Graham’s Quiz, a show I enjoyed in the West End, not least because of its interactive elements (even if we lost). It bloomed in the televisual treatment, losing a little of its structural intricacy but gaining a narrative through-line that really worked, the explosive arrival of Helen McCrory’s QC making it worth the while. And the story remains as intriguing as ever, though just as free from doubt for me.
They totally did it, right – the Ingrams may have been stitched up in court by the tinkered-with evidence (and credit to Matthew Mcfadyen and Sian Clifford for two excellent performances) – but they totally did it. Fun to see cameos like Paul Bazeley’s Lionel from Legal and Maggie Service’s Kerry the Floor Manager, and original cast members like Sarah Woodward and Keir Charle too.
Flying against the wind with this I know, but the second series of Fleabag leaves me rather cold…
“I think you’ve played with my guinea pig long enough”
I’m not sure why I’ve never succumbed to the Fleabag love that has swept the nation. Whether onstage or on screen, Phoebe Waller-Bridge’s magnus opus has never quite done it for me but what do I know – the return of the show, to a West End theatre no less, sold out quickly and the column inches about this second series of the TV show have been mounting up.
And ever the contrarian, this follow-up hasn’t really tickled my fancy either. The one thing that I think it did brilliantly was in its use of the fourth wall, particularly how Andrew Scott’s hot vicar was able to see through it for the loneliness avoidance technique it was and for pure storytelling, I thought it worked very well in terms of humanising a character who has always been rather arch. Continue reading “TV Review: Fleabag Series 2”
With a mostly new cast, Nina Raine’s deeply considered and thought-provoking Consent transfers from the National to the Harold Pinter
“It’s a fight between two opposing narratives”
Nina Raine’s Consent is yet another play to make the West End transfer out of the National Theatre’s Dorfman space. And a well-timed one it is too as even though it is only a year since it ran, the landscape when talking about how aspects of society deal with sexual assault and rape is significantly different. Read my 4 star review for Official Theatre here.
Running time: 2 hours 20 minutes (with interval)
Photos: Johan Persson
Consent is booking at the Harold Pinter Theatre until 11th August
Director Bijan Sheibani works wonders on Annie Baker’s Circle Mirror Transformation at Home in Manchester
“Slow down and start noticing everyone around you”
A cheeky trip up north for this criminally short run of Annie Baker’s Circle Mirror Transformation at Home in Manchester, for a top-notch cast and a director – Bijan Sheibani – who when on form, is one of the country’s best. And here he really is at home in the unfussy naturalism and quiet intimacy of this deceptively striking play.
My abiding memory of the Royal Court’s 2013 production is not the amazing cast it also assembled – Staunton, Woolgar, Jones… – is that it was absolutely hotter than sin in the Rose Lipman Building where it was hosted. It was also a time when I didn’t really know who Annie Baker was. Or rather, a time before the hype around her wasn’t quite so overwhelming. Continue reading “Review: Circle Mirror Transformation, Home”
“She’s like an emotional terrorist”
Truth be told I hadn’t intended to see Gloria, my own little act of protest at the Hampstead’s continuing gender imbalance – six shows straight on their main stage both written and directed by men. But the delights of An Octoroon introduced me to the writing of Branden Jacobs-Jenkins and he definitely feels like a playwright with a lot to say so I sucked it up and went to Swiss Cottage for a cheeky preview, ironically the location for the Women Centre Stage festival late last year.
Gloria sets out as a dark office comedy, shady and sharp as it navigates the ruthless ambition of a pool of young(ish) editorial assistants in the Manhattan offices of a national magazine. It’s a scathing satire of the journalism industry and the way it has evolved, or not as the case may be – time was that a foot on the bottom of the ladder meant you could reasonably expect to get to the top but times change, cubicle warfare has intensified, and in this uncertain modern world, you’ve gotta do what you’ve gotta do. Continue reading “Review: Gloria, Hampstead”
|(c) Alastair Muir
A sight to sooth the mind after a troubled weeks – pics of Marcia Gay Harden and Brian J Smith in Sweet Bird of Youth at Chichester.
|(C) Johan Persson
Continue reading “Round-up of news and treats and other interesting things”
Hollywood and Broadway icon Stockard Channing will return to the London stage this summer, to star in a new production of Olivier Award winner Alexi Kaye Campbell’s acclaimed drama Apologia, directed by the multi-award winning Jamie Lloyd.
Opening at the Trafalgar Studios on 29th July, Apologia will see the Tony and Emmy Award winning actor performing in the West End for the first time in over a decade. Channing’s hugely popular film and TV credits include starring roles in The West Wing, The Good Wife, her Oscar® and Golden Globe nominated role in Six Degrees of Separation, and the iconic role of Rizzo in the film Grease. An acclaimed Broadway and West End star, Channing’s most recent performances on Broadway, It’s Only a Play and Other Desert Cities (a “peerless” performance -NY Times, for which she was nominated for her seventh Tony Award), have affirmed her position as a true theatrical legend.
Alexi Kaye Campbell’s play is a compelling drama about the importance of family and the pressures commitment and principles exert on it. Apologia follows his critical success with The Pride and his acclaimed plays Sunset at The Villa Thalia at the National Theatre and The Faith Machine at the Royal Court Theatre.
Stockard Channing plays Kristin Miller, a firebrand liberal matriarch of a dynamic family, who is presiding over her birthday celebrations. An eminent art historian, Kristin’s almost evangelical dedication to her career and her political activism has resulted in her sons – Peter, a merchant banker, and Simon, a writer – harbouring deeply rooted and barely suppressed resentments towards her. The fissures in her relationship with them are brought to the fore by the recent publication of her memoir.
Continue reading “Round-up of news and treats and other interesting things”
“I have a horrible feeling that I’m a greedy, perverted, selfish, apathetic, cynical, depraved, morally bankrupt woman who can’t even call herself a feminist”
I left it a little while to watch Fleabag on television, for though Phoebe Waller-Bridge’s ascension to the ranks of hugely buzzworthy writer has been pleasing to watch, I haven’t – dare I say it – always been the hugest fan of her work. For me, the effectiveness of her writing hasn’t always matched with the audacity of its frankness and so in her plays and TV shows like Crashing, I’ve admired the path she’s taking without hugely enjoying it.
Her breakthrough piece Fleabag equally didn’t hit my buttons in the way that it did for many others, thus my delay in getting round to watching it. And as is often the case with lowered expectations, it actually surprised me by being a very effective adaptation of the play. Its world has been expanded, both physically and personally, a whole cast of supporting characters now appear but crucially, there’s the thing I was missing most at the Soho – direct eye contact.
Fleabag rides on its confessional style and on screen, Waller-Bridge and director Harry Bradbeer nail it, direct asides giving us piecemeal insight into the trials and tribulations of this young woman struggling to make life in London work. Afraid of being a bad feminist and unafraid of her sexuality, desperately damaged by the death of her best friend and unable to connect with her family in a meaningful way, the piece is thoroughly enlivened and enriched by its treatment on screen. Continue reading “TV Review: Fleabag”