Bodyguard reaches a thrilling climax that is sure to disappoint some but left me on the edge of my seat
“I wanted to know who did it, I don’t know who did it”
Except we do finally know who did it. Jed Mercurio’s Bodyguard – an unexpected massive hit and a reminder that the appointment-to-view model is far from over – reached its climax tonight in typically high-tension style, confounding expectations to the end and dashing the dreams of many a conspiracy theorist to boot. Seriously, so glad that Julia Montague remained dead (at least until a sequel is announced and we have to go through this whole farrago again).
And though it is bound to have its detractors, I have to say I found it all hugely entertaining. If it just wasn’t realistic enough for you, then WTF are you doing watching dramas? If you’re getting swept up in locations in this fictionalised version of London not being where they are in real life, turn the damn thing off! Its not for everyone, that’s absolutely fine, but you don’t have to drag everyone else down with your misery. Continue reading “TV Review: Bodyguard Series 1”
“I’ve just had a text from Lewisham council”
I hadn’t intended to revisit Deborah Bruce’s The Distance but a quick re-read of my review from its original production at the Orange Tree last year reminded me how much I enjoyed it (even beyond the thrill of seeing Helen Baxendale on stage for the first time). This new co-production between the Richmond venue and Sheffield Theatres sees director Charlotte Gwinner remount the show with a largely new cast but still a keen sense for the darkly comic edge of the writing.
It remains as freshly sharp in its views on modern parenthood as ever, pointing up the hypocrisy of a society that blithely looks on by if a man leaves his family but is aghast should a mother do the same. And as a shell-shocked Bea returns alone from her adoptive Australia to the bosom of her best friends Kate and Alex , both parents themselves, back in Blighty, everyone’s preconceptions, personalities and peccadilloes are challenged. Continue reading “Re-review: The Distance, Orange Tree”
“You’ve more chance of survival if you stay put”
Paul Miller’s subtle reinvention of the Orange Tree continues apace with Deborah Bruce’s The Distance, an exploration of a more complex side to parenting and friendship that is challenged when one of their group suddenly returns from Australia. Bea emigrated there to get married and have two beautiful kids but she’s turned up on best friend Kate’s Sussex doorstep alone and with their other good friend Alex also there to lend support, they to sort out Bea’s life for her, little suspecting what it is that Bea has actually done. Truth be told, I wasn’t the hugest fan of Bruce’s first play Godchild which premiered downstairs at Hampstead last year but the chance to see Helen Baxendale return to the stage tempted me over to Richmond.
There’s much to appreciate in the amusing and frank way Bruce depicts how parenthood, and different experiences thereof, affects the tight bonds of friendship. The ease with which Baxendale’s Bea, Clare Lawrence-Moody’s Kate and Emma Beattie’s Alex interact with each other is brilliantly portrayed as they bicker and banter and nurture and natter – their lives don’t stop because of Bea’s dilemma, it just has to fit into the tumble of jigsaw pieces that makes up the hustle and bustle of everyday living and so gets added to the ever-growing list of things that need to get sorted. The inclusion of the London riots is a canny move here, not as a focal point for the play but just a backdrop of a world still spinning. Continue reading “Review: The Distance, Orange Tree”
“The mind of man is less perturbed by a mystery he cannot explain than by an explanation he cannot understand”
I’ve had something of a varied history in the Old Vic Tunnels since it opened early last year: exciting immersive experiences and one of the worst productions conceivable – I still can’t look at a watering can the same way… And since opening last year, it continued to develop as a performing space, making varied use of the atmospheric arches, and they have now opened up The Screening Room, a brand-new 125-seater space both programmed and run by a team of volunteers to showcase the ‘new’ and offer training and experience in all aspects of theatre creation. The first show mounted here is a double bill of David Mamet radio plays, Mr Happiness and The Water Engine, presented by Theatre6 and MokitaGrit.
The first, short, piece is a one-man-show, David Burt starring as a radio show host playing at agony uncle, reading out letters and dispensing frank advice to his listeners’ personal problems. Silhouettes on the bookshelves behind him enact some of the scenes which adds an extra layer which isn’t strictly necessary as Burt’s sonorous voice and expressive face are more than plenty to guide us through the tangled concerns with a soft but matter-of-fact humour. Continue reading “Review: Mr Happiness and The Water Engine, Old Vic Tunnels”