David Tennant’s opening season took the template of the opening series and ran with it, Russell T Davies’ vision finding its ideal mate in the Scottish actor. The typically adventurous sweep was tempered with a more tender vision, which considerably upped our emotional investment (previous companions returning, romantic connections whether past or present).
Bringing back the Cybermen was an interesting move, as was the introduction of the notion of parallel worlds (and how important that became…). And if the series-long motif of Torchwood didn’t really pay off, especially not when one considers what Torchwood the show became, the finale to Doomsday is pretty close to perfection. Continue reading “Countdown to new Who: Doctor Who Series 2”
“Do not blaspheme! Do not blaspheme!”
To mark Series 10 of Doctor Who starting on BBC1 next week, I’ve been counting down the weeks with a rewatch of all 9 of the previous series of new Who. And now we’re within touching distance, I’m counting down the days talking about each one. For once though, I’m going to keep these posts (relatively) short and sweet, following the below format.
With just the one series to judge him on, and that series being the very first when everyone was still finding their feet, Christopher Eccleston’s Nine often gets a bit of a raw deal. And some of his zany moments are undoubtedly really quite awkward to watch but for me, they’re easily outweighed by the emotional weight of his more serious work, especially when hinting at the considerable darkness of the events of his recent past that had left him so haunted. A solid re-entry back into the televisual world. Continue reading “Countdown to new Who: Doctor Who Series 1”
“What would you choose?”
Irene Cara once declared she was going to live forever. But as advances in medical science enable us to live longer and survive once fatal conditions, the question remains about the quality of the life that remains. Nick Payne’s Elegy, further exploring the neurological theatrical so vividly started in plays like Constellations and Incognito, imagines society in a near-future scenario where the choice can be made to have part of the brain removed and artificially regenerated. The price though, the loss of huge swathes of memory.
Payne pulls no punches in showing us the impact of such a decision as when we meet post-surgery Lorna and Carrie for the first time, the former has no recollection of the latter to whom she has been married for many years. And cast as perfectly as they are here in Josie Rourke’s production in the form of Zoë Wanamaker and Barbara Flynn, Elegy has its achingly affecting moments as the non-linear narrative shows us Lorna as she was, as well as who she is now, and how the contours of her relationship have changed over time, particularly in the face of a degenerative brain disease. Continue reading “Review: Elegy, Donmar”
“Horribly stuffed with epithets of war”
When starting this DVD rewatching enterprise, I knew I’d be happy to see actors I knew and loved earlier on in their careers but I had barely a thought for the directors, particularly Trevor Nunn. His reputation precedes him so far now (in terms of keeping a wide berth) that it is hard to think of him as the interesting and innovative talent that got him to that place but through his stunning Macbeth and this Othello, the evidence is here.
His 1989 RSC Othello played The Other Place to intimate audiences, as did his Macbeth, and it is an approach that pays dividends once again. Still a hefty three and a half hours, its American Civil War setting lends an interesting dynamism in which some brilliant key casting allows real fire and emotion to flourish in a drama that tends to the domestic in its bitter jealousies, fevered realisations and misappropriated affection. Continue reading “DVD Review: Othello (1990)”
“I thought you hated all that Royal Court stuff”
I never quite got round to watching My Week With Marilyn when it was released in late 2011: it came out at a busy theatre time (as if there’s any other time for me) and clearly I wasn’t in a particularly cinematic frame of mind as this kind of film would normally be catnip to me with its combination of old-school Hollywood and a British thesp-heavy cast. So I’ve only just gotten round to watching it now and though it clearly contains a performance of exceptional grace and ingenuity in Michelle Williams’ portrayal of Marilyn Monroe, I was surprised at how lightweight the film was as a whole.
Based on two books by Colin Clark, a young man so determined to make a career for himself in the film industry that he managed to wangle his first job as a production assistant on the set of The Prince and the Showgirl, a film directed by and co-starring Lawrence Olivier. But working with such a megastar as Monroe does not prove easy: her personal demons constantly threaten to overwhelm her, exacerbating her already-troubled new third marriage to Arthur Miller, and her over-reliance on her acting coach causes much tension as she ends up delaying the making of the film time and time again. In the midst of all the chaos, she lights upon Clark, who is completely bewitched by his idol, as an emotional crutch and he ends up spending a week escorting her about and providing some light escapism from her life. Continue reading “DVD Review: My Week With Marilyn”
“Which text are you using?”
Part of Kenneth Branagh’s opening salvo as his year-long residency at the Garrick begins is the Terence Rattigan double header of Harlequinade and All On Her Own. When originally performed, Harlequinade was paired up with another of Rattigan’s short plays The Browning Version to beef up the bill and the same thinking has been applied here. Taking advantage of Zoë Wanamaker’s presence in the company, Branagh has introduced one-woman 30-minute play All On Her Own (also known as Duologue) to the programme, playing directly before Harlequinade with nary an interval between them.
One can see the theoretical case for the decision, ensuring West End prices can still be charged but providing a much more slimline companion piece to the three hours of The Winter’s Tale but in reality, it’s an odd pairing that demonstrates little complementarity (apart from for Rattigan completists). All On Her Own is a grand showcase for Wanamaker, as her widow returns from a party somewhat tipsy and begins to reminisce about her dead husband, even talking to him. It’s a little bit funny, it’s a little bit sad, but it’s a little bit perplexing too, especially as it has no connection to the ensuing Harlequinade. Continue reading “Review: Harlequinade / All On Her Own, Garrick”
The Kenneth Branagh Theatre Company officially open their year-long residency next week so here’s a cheeky little preview to whet the appetite in advance of the reviews. Mild production spoilers abound… Continue reading “Preview: The Kenneth Branagh Company”
With the new series of Doctor Who almost upon us, I thought I’d look back on some of my favourite guest spots on the show since it has come back on air, as it has become quite the magnet for actors to get on their CV. Have a look at my top 10, well 11, here and let me know who you think should have been on there instead.
Suranne Jones (The Doctor’s Wife)
This is probably my all-time favourite moment out of all of the new Doctor Who episodes. Neil Gaiman’s conceit was brilliantly simple, to bring the TARDIS to life, but Jones’ performance elevates it to something extraordinary, I get goosebumps just thinking about it and this scene, from near the end, is just perfection. As Matt Smith’s lip starts to wobble, we see the Doctor at his most affectingly human.
“I don’t care what they think”
The quality of theatre that the Chichester Festival Theatre produces on a regular basis can barely be questioned. Big musicals aside, it may rarely be heart-thumpingly exciting or shine with innovative flair, but rather the focus is on meticulously constructed productions of the more traditional side of drama. Which goes to say that CFT couldn’t be more MOR if it tried, at the top end of the middle of the road to be sure, but still lacking something of a cutting edge.
In some ways, it might be an unfair suggestion. Christopher Morahan’s production of Hugh Whitemore’s 1977 play Stevie is impeccably put together and features a fantastic performance from Zoë Wanamaker at its heart but the speed at which that heart races rarely gets above resting pace. The Stevie of the title is Stevie Smith, a poet and author who has been somewhat forgotten, whose work sprang from the minutiae of her daily life and the play goes about realising moments from that life. Continue reading “Review: Stevie, Minerva”