Sarah Frankcom bids farewell to the Royal Exchange with this atmospheric production of Simon Stephens’ Light Falls
“There’s a million things in store for you just beyond the horizon, but please, stay in sight of the mainland”
Sarah Frankcom’s association with the Royal Exchange goes back more than 20 years, so her departure as Artistic Director will undoubtedly be seismic in some ways. And if the first manifestation of that is the appointment of Roy Alexander Weise and Bryony Shanahan as joint ADs, then Manchester certainly looks in for a treat.
Before then though, Light Falls aka it’s grim up north. More than just a tip of the hat to those of us from t’other side of the Watford Gap (Lancashire born and bred, lest ye think I’m a southerner), Frankcom and playwright Simon Stephens visited a number of northern cities and towns to weave together a patchwork of a story about a scattered family. Continue reading “Review: Light Falls, Royal Exchange”
I’m opting not to review Sylvia but rather to haul the Old Vic over the coals for a bit of a shambolic handling of the situation
“Time’s up, there’ll be no more waiting”
Hindsight is a great thing but the team at the Old Vic will have to look back at how they handled the difficult genesis of Sylvia and take some severe lessons. Some things were unquestionably out of their control, like the disruption of cast illness, but others were not. The apparent development of the show from a dance-led piece to a full-blown musical did not happen overnight and so to cite that as an excuse for the piece not being ready, to reclassify the production as a work-in-progress midway through the run is disingenuous to say the least, especially when people are still being charged £45 to see it.
It is a piece that is bounding with potential, clicking into a theatre landscape in London which feels unusually switched on at the moment (Misty and Emilia to name but two kicks up its backside), but we do still feel like we’re in rough draft territory here, hence my decision not to review. (It has provoked some strange reactions in the press though – four stars from Billers? Time Out showing their ass about colour-blind casting?) The music by Josh Cohen and DJ Walde and the book by Kate Prince and Priya Parmar both need substantial refinement from its baggy three hours plus, but you can see the work being put in, and which will continue to be put in until Sylvia re-emerges (next year apparently) better equipped to smash that patriarchy.
“A man’s life’s no more than to say ‘one’”
One of the main problems with the countless thinkpieces about the filming of live theatre is that they are almost always written by people who have ample opportunity to see the plays live. To talk about losing the innately unique quality of theatre unfolding before you is all too easy when you’re seeing shows pretty much every day of the week; when your own opportunities to see theatre, especially the bigger productions that tend to get filmed, are limited due to any kind of accessibility concern, it becomes a whole ‘nother ball
Which is a slight digression from how I intended to start this, by saying that I wonder how much of a difference it makes if you’ve seen a production live and then on screen. I’ve not done the double, as it were, on many plays, I’ve tended just to use DVD as a way to catch up on things I missed and so was a little hesitant about whether to include Sarah Frankcom’s production of Hamlet for the Royal Exchange in this collection. But boy am I glad I did, for I enjoyed immensely, possibly even more than I did at the theatre. Continue reading “DVD Review: Hamlet (2014)”
“Fat, embittered, heavy-drinking, middle-aged male detective. Do you know how much of a cliché that is”
Part of Anne-Marie Duff’s triple-fronted return to prominence (cf Suffragette and Husbands and Sons), BBC1 drama From Darkness sees her take the lead in the psychological crime drama from Katie Baxendale. Running away from unhappiness, former police constable Claire Church has made a new life for herself on a remote Scottish island with the ruggedly handsome Norrie and his daughter but the revival of a decades-old case inexorably draws her back to the darkness to longs to flee.
Trying to skewer traditional notions of female victimhood in crime dramas, Baxendale curiously opts for a storyline based on the serial killings of prostitutes and never really manages to put enough clear water between From Darkness and others in the genre. And tied up as it is with trying to explore the repercussions of letting fear overwhelm us, the show can’t quite overcome its desire to slot into the fairly conventional strictures of your standard police procedural with all its daft contrivances.
So despite being retired from the force, Duff’s pill-popping Church is soon rattling around as if she owns the place and the investigation, under the instigation of Johnny Harris’ conflicted DCI Hind with his own troubled past intimately connected to Claire’s. Luke Newberry’s green DS Boyce offers a much-needed measure of comic relief, his Oxbridge nature ill-suited to the realities of Greater Manchester policing and Caroline Lee-Johnson’s coldly efficient Superintendent is ace at just getting shit done.
Continue reading “TV Review: From Darkness, BBC1”
“This is something I can’t ignore”
Typical really, the first series of Scott & Bailey that I actually get to watch live on air and it’s the first one that disappointed me. I caught up quickly with the first three over the last few weeks so that I would be up to speed with Series 4 but all in all, I didn’t feel like it was up to the standard. No real overarching story emerged across the eight episodes and without the heightened drama that would have added, this just felt like a retread of some of the same old plot points.
An ill-advised affair with a colleague, a promotion not taken due to personal circumstances, Janet’s kids playing up, tough but tender relations with Gill…it does feel like we’ve been here before. And though there are new twists, none of them really took flight – Rachel’s step up to sergeant never really foregrounded, a hint of romance for Janet left until the very end. The individual cases that came up maintained the usual level of interest but something was lacking in the end. Continue reading “TV Review: Scott and Bailey Series 4”
“What a piece of work is a man”
The political may be largely subsumed into the personal here but rarely has Hamlet felt so universal. Sarah Frankcom’s stated aim was to create “a Hamlet for now, a Hamlet for Manchester” and in the casting of the towering thespian might of Maxine Peake, it is not hard to feel that she has succeeded. Court scenes are played out around the dinner table, affairs of the state dealt with in business meetings, but all serve to intensify the pained intimacy of a family gone wrong, the suffering of people trapped in a dark world of pain at the heart of which lies this tortured sweet prince.
Dressed in a dark blue Chairman Mao suit (a neat nod to the politics of a determined contrarian) with hair cropped and shaved, Peake’s androgyne is a mesmeric figure from start to finish. The intelligence that sparkles from that voice, the openness that is commanded from that unflinching stare, it is nigh on impossible not to get swept away in the beauty of the performance. It remains at all times deeply humane too – this is a Hamlet who is really teetering on the brink as we see in the shaking hand that cannot pull the trigger, the vocal tremors throughout, the quivering lip at the news of Yorick. Continue reading “Review: Hamlet, Royal Exchange”