A characterful slice of seedy Soho life, Absolute Hell is anything but at the National Theatre
“You won’t call the police, I’ll call the police”
We’ve all got a history, a bit of a chequered past and Rodney Ackland’s play Absolute Hell is no exception. Premiered in 1952 under the title The Pink Room, it received an enormous critical drubbing which led to a 40 year near-silence from the playwright. But as time passes, trends shift and plays eventually get rewritten, a new version of the drama emerged in the late 1980s to considerably more success.
It is that version that is being revived here by Joe Hill-Gibbins with the kind of luxury casting that National Theatres are made for. And with the world of this slice-of-life play being made up of a vast ensemble of characters, it’s a great fit. Absolute Hell is set in a Soho members club in the period between the end of WWII and the Labour general election win and follows its patrons as they retreat from the social (and physical) upheaval of wartime into a fug of drink, drugs and debauchery. Continue reading “Review: Absolute Hell, National Theatre”
“I learned a long time ago not to trust what people tell me”
I did want to love Fearless
, I really did. Any series with Helen McCrory in its leading role has to be worthy of consideration and ITV have been upping their drama game (qv Unforgotten
) recently. But despite an intriguing opener
, the six episodes of Fearless increasingly tested the patience as Patrick Harbinson’s script failed to deliver on its twistily complex promise, instead giving us a fairly run-of-the-mill thriller that ultimately proved less than thrilling.
With a playbook that threw out major themes with regularity – miscarriages of justice, the Syrian refugee crisis, institutional corruption, the war in Iraq, the ethics of the surveillance state, just to name a few – it was inevitable that some would fall by the wayside. But with the amount of personal backstory for McCrory’s Emma also shoehorned in there, the narrative was both painfully overstuffed and sadly inconsequential – it was increasingly hard to know what we were meant to care about.
Continue reading “TV Review: Fearless, ITV”
“You let a terrorist’s wife live in your home and you set a murderer free”
Fearless is a new six-part drama on ITV and whilst some people might be excited by the fact that it is written by one of the writers of Homeland (Patrick Harbinson), all right-thinking people will of course be psyched that it is giving Helen McCrory a stonking leading role. She plays human rights lawyer Emma Banville who is utterly unafraid to butt heads with the world as she investigates miscarriages of justice.
Her latest case draws her into the orbit of Kevin Russell (definite fave Sam Swainsbury) whose conviction for murder looks to be a little iffy. With perhaps a little too much ease, she finds it unsafe and secures a retrial but looks set to have opened up quite the can of national security-flavoured worms as a serious-looking transatlantic phone call on a secure line seems to suggest that there is much more to this than meets the eye. Continue reading “TV Review: Fearless Episode 1”
In something of a coup, Guildford Shakespeare Company’s leading man for their production of King Lear is none other than Brian Blessed. And with his daughter Rosalind playing Goneril too. The play’s opening this week was a little overshadowed by the actor’s collapse during the final preview performance, but with the redoubtable resilience we have come to expect from this totemic figure (and perhaps unfairly so, he is 78 after all), he continued with the show after a 20 minute break. So three days later, it was with a little trepidation that we took our seats in the Holy Trinity Church in Guildford (cushion recommended!).
But we needn’t have worried, Brian Blessed giving his King Lear was exactly how you’d imagine Brian Blessed giving his King Lear would be. For better and for worse. There’s a real thrill in seeing him throw himself so fully into the cantankerous cruelty and wild abandon that characterises Lear’s breakdown – every howl, headshake and handwring is vastly exaggerated and is so unmistakeably him. But this comes at the loss of much subtlety, if not wailing he’s whispering with inbetween, which ultimately becomes a little exhausting whilst remaining trashily enjoyable. I mean look at the poster, what you want is Brian Blessed doing exactly what Brian Blessed does. Continue reading “Review: King Lear, Holy Trinity Church, Guildford”