Chloë Moss, Nathaniel Martello-White and Jasmine Lee-Jones make Episode 5 of Unprecedented unmissable
“I want people not screens”
One of the main strengths, for me, of Unprecedented has been the sheer variety of the writing that has responded to Covid-19 here. Previous episodes (#1, #2, #3, #4) have all impressed but the combination of writers in this fifth instalment really captures that lightning-in-a-bottle potential that makes the best theatre spark.
I watched Chloë Moss’ Everybody’s Talkin’ whilst hungover but not even I can blame the huge weeping tears on that alone, this is a beautifully pitched, gorgeously performed slice of family drama in miniature. Three daughters gather on Zoom to speak with their recently bereaved mother but the trials of finding a new normal, within the context of already having find a new normal is full of unimaginable pain. Moss’ writing and Caitlin McLeod’s direction speaks directly to the challenges that so many faced even before coronavirus hit, and during, and Sue Johnston leads the cast marvellously.
Continue reading “TV Review: Unprecedented, Episode 5”
A new series of monologues, curated and produced by Michelle Collins alongside the Equity Benevolent Fund, has been released online for charity. Entitled “#FortheLoveofArts”, the scheme sees acting talent come together to raise funds for beleaguered artists and individuals during the ongoing pandemic.
Appearing in the series are Lesley Manville, Ian McKellen, Adjoa Andoh, Miriam-Teak Lee, Derek Jacobi, Layton Williams, Sue Johnston, Jason Watkins, Sanjeev Bhaskar, Pearl Mackie and more. Some of the monologues are brand new works penned especially for the series.
The monologues can be viewed on the Equity Benevolent Fund’s YouTube channel.
Headlong and Century Films have today announced a cast of over 50 UK actors taking part in Unprecedented: Theatre from the State of Isolation. A series of new digital plays written in response to the current Covid-19 Pandemic, Unprecedented will be broadcast across the nation during lockdown as part of BBC Arts’ Culture in Quarantine initiative.
Written by celebrated playwrights and curated by Headlong, Century Films and BBC Arts, Unprecedented explores our rapidly evolving world, responding to how our understanding and experiences of community, education, work, relationships, family, culture, climate and capitalism are evolving on an unprecedented scale. The series will ask how we got here and what the enduring legacy of this historic episode might be. Continue reading “News: cast announced for Unprecedented: Theatre from a State of Isolation”
With a cast including Sarah Lancashire, Lucian Msamati and Lia Williams, how could Kiri be anything but good
“Stick a flake in it before you try and sell it to the tabloids will you”
Airing on Channel 4 at the beginning of the year, Jack Thorne’s Kiri was billed as a continuation of his National Treasure brand (I managed one episode of that first series…). But any fears I had of not liking it were assuaged by a cast led by Sarah Lancashire, Lucian Msamati and Lia Williams, plus this far down the line, I’d heard enough good things about it to finally get round to watching.
Set in Bristol, Kiri follows the abduction of a young black girl – Kiri – in the foster care system, as she is allowed a meeting with her birth grandparents in advance of her adoption by a white middle-class family. Her social worker Miriam has arranged this unorthodox meeting and sure enough, the proverbial hits the fan when she gets a phone call to say she has gone missing. Continue reading “TV Review: Kiri”
“The children – strange, shadowy creatures”
Starting in London in 1921 in a hospital for the war wounded, a junior psychiatrist tries to break through with a mentally disturbed patient, a young woman who was previously a governess at a grand house in the country. Thus starts this 2009 television adaptation of Henry James’ The Turn of the Screw by Sandy Welch and directed by Tim Fywell which relocates the story to a shell-shocked post WWI society.
Michelle Dockery leads the cast as Ann, newly employed to look after the 2 young wards of the Master (Mark Umbers in handsomely brutish form), but soon finds out that neither child is quite as angelic as they first seem. Strange happenings keep on occurring to her and around her and all seems to be linked to the previous woman to hold the position of governess who died in mysterious circumstances along with a manservant from the house, Peter Quint, whose ghostly presence threatens the sanity and safety of all concerned, or so it seems to Ann at least. Continue reading “DVD Review: The Turn of the Screw”
Partly based on his own experiences as a boy in Cardiff, Small Change is one of Peter Gill’s earlier plays, revived here at the Donmar Warehouse. It covers the efforts of two boys in 1950s Cardiff to remove themselves from their mothers’ apron strings, but also with the complex relationship between the two, struggling to grasp their true feelings for each other in a world where homosexuality is incomprehensible and illegal. But as it is a memory play, we also see the characters later in life and the action flits around the timeline showing how the past and present are inextricably linked and indeed their impact on the future.
The extremely simple staging, just four chairs at random angles, a floating shelf on a brick wall at the back and an unadorned red raked stage means that the focus is squarely on the prose which is heavily poetical. But whilst there is no doubting the quality of the acting onstage and the obvious emotion invested in the depiction of unresolved homosexual yearning and the drudgery of housewifery, it rarely fully captivated the attention as it is just so very lyrical and Gill’s writing often veers to the elliptical and obtuse.
This is partly due to the structure: the play constantly shifts around in time with repeated lines and recurring motifs echoing around but instead of being moving, I found myself getting increasingly irritated with the repetition. And there seemed something a little artificial about the evocation of working class language, a romanticism which was a little too rose-tinted for my liking.
The acting is predictably strong, led by the incomparable Sue Johnston with her stoic and strong Mrs Harte contrasted with Lindsey Coulson’s much more nervous and despairing Mrs Driscoll, struggling under the weight of a large family and brutal husband. Matt Ryan and Luke Evans had a lovely chemistry as the two boys who never quite managed to chase the dream of love between the two, each following their own paths. On the one hand it was nice not to see full-blown ‘pretending to be children’ acting from these two but equally, the subtlety with which it was played meant that it was never abundantly clear just when we were in the storyline.
Dull and uninvolving feels too harsh a description for this production given the strength of the acting, but I would struggle to recommend this to people as it ended up being quite a difficult play to like.