Years and Years sees Russell T Davies take on dystopian near-future sci-fi to startling effect
“We’re not stupid, we’re not poor, we’re not lacking. I’m sorry, but we’re clever. We can think of something, surely.”
What if…? What if…? What Brexit happens, what if Trump is voted in again and fires a nuclear bomb towards China, what if global warming happens today and not tomorrow, what if Lee from Steps is the most successful one…? Such is the world of Years and Years, Russell T Davies’ latest TV venture, a six-part drama that dares to ask what if it is already too late.
He uses the Lyons family as a prism to explore what the next 15 years of human history might look like, as technological advances make leaps and bounds alongside the political and social upheaval that strikes at the very heart of this sprawing middle-class Manchester-based family. It’s a daring piece of drama, full of Davies’ typically big heart and bold emotional colours and I have to say I rather loved it. Continue reading “TV Review: Years and Years”
“Time will tell, it always does”
Phew, the Doctor Who rewatch comes to an end with the most recent series, another that I hadn’t seen any of since it originally aired. And again it was one of highs and lows, a frustrating sense of pick and mix that never settles. So from the astonishing bravura of the (practically) solo performance in Heaven Sent to kid-friendly quirks of the sonic sunglasses and guitar playing, Capaldi took us from the sublime to the silly. Fortunately there was more of the former than the latter (although it is interesting that my memory had it the other way round).
Part of it comes down to knowing in advance how the hybrid arc plays out (disappointingly) and a little perspective makes Clara’s departure(s) a little less galling. This way, one can just enjoy the episodes for what they are, free from the weight of the attempted mythologising. The Doctor raging against the futility of war, the wisdom (or otherwise) of forgiveness, the repercussions of diving in to help others without thinking through the consequences…it is often excellent stuff. It’s also nice to see Who employ its first openly transgender actor (Bethany Black) and a deaf actor playing a deaf character (Sophie Stone). Continue reading “Countdown to new Who: Doctor Who Series 9”
Best Supporting Actress in a Play
Daisy Haggard, You For Me For You
There’s no way to describe Haggard’s performance that could do justice to just how accomplished it is. Ostensibly just gibberish, the precise nature of the gobbledygook becomes apparent as her speech slowly modulates into increasingly recognisable English. And all the while as she’s speaking what is essentially another language, she never forgets to extract every exquisite comic detail – just brilliant.
Honourable mention: T’Nia Miller, Eclipsed
As with Wright for Best Actress, it’s a tad invidious to separate out the ensemble of what was my favourite play of the year but the extra dimension that she brought to the show, adding the thoughtful complexity of class division to the mix was an absolute highlight.
Priyanga Burford, The Effect
Estella Daniels, Octagon
Rosalind Eleazor, Plaques and Tangles
Sally Rogers, Hangmen
Adjoa Andoh, A Wolf in Snakeskin Shoes; Zawe Ashton, Splendour; Hélène Devos, Glazen Speelgoed; Ellie Piercey, As You Like It (Globe)
Best Supporting Actress in a Musical
Emma Williams, Mrs Henderson Presents
An actress who deserves to be much better known than she currently is, her latest superlative turn in a British musical might just be the one to push her through to the wider public consciousness, as deservedly so. At one point, a single sustained note from her brought tears to my eyes in seconds.
Honourable mention: Amy Lennox, Kinky Boots
This was probably the closest run of these choices as I loved Lennox’s haplessly quirky turn as Lauren is the very definition of a scene-stealer, none more so than in the glorious ‘The History of Wrong Guys’.
Anita Dobson, Follies
Anna Francolini, wonder.land
Lauren Samuels, Bend It Like Beckham
Lorna Want, Beautiful – The Carole King Musical
Liza Goddard, The Smallest Show on Earth; Preeya Kalidas, Bend It Like Beckham; Anastacia McClesky, Close to You; Victoria Serra, Grand Hotel
“You tink it normal you wifing some dirty self-proclaimed general in de bush? You tink it normal a boy carrying a gun killing and raping? You tink it okay dere no more schools, no more NOTIN!”
In 2003, Liberia was in the fourth year of its second civil war, the first having only ended in 1997 with cumulative casualties estimated to have reached over half a million. It is the context of this situation that Danai Gurira’s play Eclipsed visits four young women sequestered on a rebel army base as the wives of the resident C.O. and explores the choices that they’ve been forced to make in order to survive. The intimacy of the Gate naturally lends itself to intense theatrical experiences but Caroline Byrne’s production here captures something equal parts raw and refreshing in both its uncompromisingly Liberian-accented subject and its forthright sincerity.
It’s refreshing because the Zimbabwean-American Gurira’s writing stems from an innate desire to understand character and even though the four women have been reduced to naming each other in the order they were ‘betrothed’ to the unseen general, they’re all written beautifully. As the dominant mother figure, No 1 runs as tightly regimented a ship as the man who no longer sexually desires her, No 2 took the only escape route available, joining the ranks of the soldiers leaving No 3 to bear the brunt of the amorous intentions, leaving her pregnant. The arrival of a frightened No 4 forces a change in the group’s dynamics though, as each woman struggles to assert their position. Continue reading “Review: Eclipsed, Gate”
Once upon a time, an invitation wound its way into the inbox of an overworked online theatre reviewer, inviting him to the deepest, darkest parts of London town that few broadsheet critics ever dare to enter. The instructions laid a trail of enticing theatrical crumbs all
the way south to the townstead of Deptford where brothers Jacob and Wilhelm Grimm find themselves in something of a pickle. Famous of course for collecting stories, they’re in desperate need of assistance on their latest hunt for new tales and it is up to us, dear reader, to help them in the task, should you too accept the summons to The Hunters Grimm.
On a dark and cloudy night, dressed stout of boot and warm of cloak as we had been advised, our band of intrepid explorers found their way to The Spinning Room, the lair where the brothers have stored their collection so far. It was a place full of curiosity and I was glad I had arrived with plenty of time (you’d be well advised to do the same, etymological knowledge and gingerbread cookies don’t just fall off trees you know) as the gravity of the situation was imparted to us and just what we could do to help. Divided into two groups of Fearless Philologists and Bold Bibliophiles, with no little trepidation we ventured forth into the wilderness.
Continue reading “Review: The Hunters Grimm, Teatro Vivo in Deptford”