Just a quick rant.
I watched Being Human last night by accident and loved it. Dark, and with the perfect mix of domesticity and monsters and a large dash of slacker comedy sensibility. It felt like a pilot, and I was looking forward to the next episode.
But, I read today that it was a 'one-off drama', and that the pretty mediocre Phoo Action (aiming at the yoof market) from last week is the one from this batch that got the commission.
If this is correct, there is no justice......
Ah.... right...... as you were then.
Thursday, 21 February 2008
Wednesday, 20 February 2008
Report from the front line
I went to see Women of Troy last night, and it was an interesting experience for lots of reasons.
1. I got a cheap last minute seat in the front row - Yay -the third time that has happened, so I think disorganisation is a virtue when National Theatre tickets are involved.
2. Being in the front row I got hit by the big blast at the end of the play, and covered in dust/ash. Once I finished spitting out the bits, I thought that was a bit of a result for the notion of theatre as an involving experience.
3. I could see Hecuba's snot get stuck to the stage and pull away in a great big string - certainly an authentic experience.
4. I remained uninvolved, despite the great acting, good view, great set, and a great play with enormous, tragic themes.
The last point has been worrying me all day. Apart from the fabulous slow-mo dancing sequences, which I found tremendously moving, my main feeling was of wonderment that I didn't feel anything despite the god-awful things that were being acted out.
I *like* emotional engagement though, and I want it back, even though I'm sure it means my hidden depths are shallow.
Friday, 15 February 2008
Is there Life in Gene?
Ashes to Ashes started last week, and I couldn't decide whether to look forward to it or not.
Gene Hunt was clearly a great invention, and it was inevitable and highly desirable that he would be brought back. The risk was that without John Simm the intensity would vanish from the experience, and instead we would be left with lightweight clowning and nostalgia.
I have to say that I enjoyed it much more than I expected to. Bringing a woman in for the eighties was absolutely spot on, giving an opportunity to highlight gender politics, but she did seem a bit shrill and frenetic against the relaxed joshing of the established gang in that first episode. Maybe that was the point though.
I joined the Met Police as a manager of civilian staff in the eighties, and I would say that casual sexism was still a very big issue, right up to when I left in the early nineties. In terms of authenticity though, what were they doing giving a DI short skirts and off the shoulder numbers showing her bra strap without her causing a riot? Of course we were all wearing sexy clothes outside of work, but in the eighties women were still fighting to be taken seriously in senior roles and were having to dress and behave like men. Even as a newcomer, she would have found her job impossible with those clothes. A2A is set in 1981, but in 1986 when I joined, suits were the order of the day for any woman hoping to be taken seriously, and I was given a ticking off during my first few weeks for wearing a (very smart) trouser suit; 'Women in trousers are not acceptable in a serious work environment as they are too revealing', so I think they missed a trick there.
It has already been interesting in highlighting how far we haven't moved, particularly in being unwilling to give a woman the benefit of the doubt. In the chat forums I have popped into it has been instructive to see how many woman have been grumbling about Keeley Hawes who plays the new female DI. I don't buy the argument that we are so far post-feminist that sisterly support is outdated. When women are being criticised by other women in terms that they wouldn't dream of using for men, I get really depressed.
Apart from that though, I think that there are some very interesting points to be made, so I hope they don't spend too long faffing about in an empty nostalgia fest, or gazing adoringly at Gene Hunt.
Having said all that, who can remain po-faced about gender politics for too long when Gene Hunt appears round the corner in his Audi Quattro? Certainly not me - I was hanging on every one of the Guvner's nuggets of wisdom within minutes this week despite all my misgivings. And there is the problem in a nutshell.
Ah well, I will just have to try harder next week.
Gene Hunt was clearly a great invention, and it was inevitable and highly desirable that he would be brought back. The risk was that without John Simm the intensity would vanish from the experience, and instead we would be left with lightweight clowning and nostalgia.
I have to say that I enjoyed it much more than I expected to. Bringing a woman in for the eighties was absolutely spot on, giving an opportunity to highlight gender politics, but she did seem a bit shrill and frenetic against the relaxed joshing of the established gang in that first episode. Maybe that was the point though.
I joined the Met Police as a manager of civilian staff in the eighties, and I would say that casual sexism was still a very big issue, right up to when I left in the early nineties. In terms of authenticity though, what were they doing giving a DI short skirts and off the shoulder numbers showing her bra strap without her causing a riot? Of course we were all wearing sexy clothes outside of work, but in the eighties women were still fighting to be taken seriously in senior roles and were having to dress and behave like men. Even as a newcomer, she would have found her job impossible with those clothes. A2A is set in 1981, but in 1986 when I joined, suits were the order of the day for any woman hoping to be taken seriously, and I was given a ticking off during my first few weeks for wearing a (very smart) trouser suit; 'Women in trousers are not acceptable in a serious work environment as they are too revealing', so I think they missed a trick there.
It has already been interesting in highlighting how far we haven't moved, particularly in being unwilling to give a woman the benefit of the doubt. In the chat forums I have popped into it has been instructive to see how many woman have been grumbling about Keeley Hawes who plays the new female DI. I don't buy the argument that we are so far post-feminist that sisterly support is outdated. When women are being criticised by other women in terms that they wouldn't dream of using for men, I get really depressed.
Apart from that though, I think that there are some very interesting points to be made, so I hope they don't spend too long faffing about in an empty nostalgia fest, or gazing adoringly at Gene Hunt.
Having said all that, who can remain po-faced about gender politics for too long when Gene Hunt appears round the corner in his Audi Quattro? Certainly not me - I was hanging on every one of the Guvner's nuggets of wisdom within minutes this week despite all my misgivings. And there is the problem in a nutshell.
Ah well, I will just have to try harder next week.
Monday, 11 February 2008
Hello Motto
I hear that Britain is to have a motto to bring us together, pull as a team etc, something to symbolise what we have in common.* Seriously naff idea somehow, and surely the whole point of Britishness is that we are curmudgeonly old buggers who seriously resent doing anything so decidedly corporate. Judging by the sniggers from the Radio 4 news this evening, I'm not the only one with that view.
If we have to have a motto, my best suggestion so far is 'Never knowingly over-keen', but I am sure the better class of blog and tomorrow's papers will have much better ideas.
Update: My son's attempt is 'Britain: America's bitch'. I'm not sure what that says about the youth (or Britain) of today.
* Although I suspect that it has more to do with selling Britishness abroad.
If we have to have a motto, my best suggestion so far is 'Never knowingly over-keen', but I am sure the better class of blog and tomorrow's papers will have much better ideas.
Update: My son's attempt is 'Britain: America's bitch'. I'm not sure what that says about the youth (or Britain) of today.
* Although I suspect that it has more to do with selling Britishness abroad.
Saturday, 9 February 2008
You had to be there....
Went to see Cyrano de Bergerac this week in rep at The Haymarket, Basingstoke, and thoroughly enjoyed it as usual, even though the theatre was really only half full. What is it about theatre that makes it such an intensely enjoyable experience? To see the same thing on screen, large or small might be nice, but not the same.
Stand up is similar, in that you can always double the effect on the audience actually present, so that what is quite enjoyable on the dvd, becomes gut-wrenchingly funny live. Why is that?
Stand up is similar, in that you can always double the effect on the audience actually present, so that what is quite enjoyable on the dvd, becomes gut-wrenchingly funny live. Why is that?
Tuesday, 22 January 2008
Suds on the Beach
I met up with some old school friends at the Tate Modern this weekend. Great to see them, scary to see how little they have changed, even though I have known one of them for 40 years, and the other for over 30. What is it that makes lasting friends?
Annnnyyyywwwaayyy, had a good afternoon, walking the length of 'the crack', and reminiscing about people even though we couldn't remember their names. I still haven't got to grips with the rehang at Bankside, and miss some of favourites I used to visit - if anyone ever reads this and can tell me what the picture with the moving hairs was called, and who it was by, I will be very grateful, to the extent that I may even buy you a virtual drink.
I've also been watching some of the new season telly, and I'm hugely enjoying Moving Wallpaper, though I'm struggling a bit with the partner programme, Echo Beach, probably for all the same reasons that I don't usually watch any of the soaps. However, being the post-modern girl that I am, I'm a real sucker for the in-joke, and both parts of Moving Beach (or whatever!) are stacked with them, so I'm coming back for more so far.
I have far less excuse to love 'The Palace', but I do, with a passion. With huge suds and splashing about by those stock 'characters', by rights this should be awful, but it isn't. Engaging well acted leads, a plot that swishes you along too quickly to notice the threadbare bits, and lots of glossy corridor movement........*
* I've just realised this is West Wing syndrome, and once addicted, any old substitute will do. Well, I don't care, I'm going to make the most of it for now.
Annnnyyyywwwaayyy, had a good afternoon, walking the length of 'the crack', and reminiscing about people even though we couldn't remember their names. I still haven't got to grips with the rehang at Bankside, and miss some of favourites I used to visit - if anyone ever reads this and can tell me what the picture with the moving hairs was called, and who it was by, I will be very grateful, to the extent that I may even buy you a virtual drink.
I've also been watching some of the new season telly, and I'm hugely enjoying Moving Wallpaper, though I'm struggling a bit with the partner programme, Echo Beach, probably for all the same reasons that I don't usually watch any of the soaps. However, being the post-modern girl that I am, I'm a real sucker for the in-joke, and both parts of Moving Beach (or whatever!) are stacked with them, so I'm coming back for more so far.
I have far less excuse to love 'The Palace', but I do, with a passion. With huge suds and splashing about by those stock 'characters', by rights this should be awful, but it isn't. Engaging well acted leads, a plot that swishes you along too quickly to notice the threadbare bits, and lots of glossy corridor movement........*
* I've just realised this is West Wing syndrome, and once addicted, any old substitute will do. Well, I don't care, I'm going to make the most of it for now.
Sunday, 13 January 2008
Reliability may be an issue
Well I started with all good intentions, but it has taken me two weeks to come back for another look. You, dear reader, are probably beginning to get the measure of me.... promises not a lot, and that's probably what I will deliver. Still, at least we all know where we are now.
First of all, an addition to my previous post. I somehow forgot to mention the play Alex, with Robert Bathurst, which was a surprise pleasure. Having left the cartoon strip on which it is based behind when I left the eighties, and finding his characters in Cold Feet and My Dad is Prime Minister a bit nondescript, I didn't quite know what to expect, but Robert Bathurst blew me away. It was a one man show with all other characters remaining in their cartoon form, but interacting with the human Mr Bathurst. I have seen this sort of thing done before but never so proficiently and lacking in clunkiness. The show was extremely funny, and I came away very impressed. I see Robert Bathurst has been nominated for an award for this and very well deserved it is too.
Since my last post I have also been to see The Country Wife at The Haymarket. I went mainly as a social event, but was very pleasantly surprised. Toby Stephens was a triumph, and I was impressed with the production overall, which used largely 'traditional' dress, but with touches of modernity, like a knitted shrug over a ballgown, or jeans with a flouncy shirt and ostentatious coat. Maybe it was a bit too obvious in pointing out the modern themes in this restoration comedy, but it was still very effective. The set was very complicated, and a hitch led to a 20 minute impromptu interval whilst they resolved the situation, during which time I could feel the energy draining out of the auditorium, and left me time to wonder whether they really needed such complexity. My conclusion was that given the show off tendencies of restoration theatre, the flashy set probably added to our authentic experience.
Highlights included a posse of sex starved matrons led by Patricia Hodge eating grapes from Toby Steven's crotch, and everything about David Haig's performance as the cuckold, combining desperation, inadequacy, and a huge amount of physical effort, with a sweetness which undercut the dischordant notes where violence was threatened to his young,silly and libidinous wife. I read later that this was the first production for a new company formed for the theatre, and I will look with interest at their future work. (Well, that is what I say, but bearing in mind the title of this post, who knows.....)
First of all, an addition to my previous post. I somehow forgot to mention the play Alex, with Robert Bathurst, which was a surprise pleasure. Having left the cartoon strip on which it is based behind when I left the eighties, and finding his characters in Cold Feet and My Dad is Prime Minister a bit nondescript, I didn't quite know what to expect, but Robert Bathurst blew me away. It was a one man show with all other characters remaining in their cartoon form, but interacting with the human Mr Bathurst. I have seen this sort of thing done before but never so proficiently and lacking in clunkiness. The show was extremely funny, and I came away very impressed. I see Robert Bathurst has been nominated for an award for this and very well deserved it is too.
Since my last post I have also been to see The Country Wife at The Haymarket. I went mainly as a social event, but was very pleasantly surprised. Toby Stephens was a triumph, and I was impressed with the production overall, which used largely 'traditional' dress, but with touches of modernity, like a knitted shrug over a ballgown, or jeans with a flouncy shirt and ostentatious coat. Maybe it was a bit too obvious in pointing out the modern themes in this restoration comedy, but it was still very effective. The set was very complicated, and a hitch led to a 20 minute impromptu interval whilst they resolved the situation, during which time I could feel the energy draining out of the auditorium, and left me time to wonder whether they really needed such complexity. My conclusion was that given the show off tendencies of restoration theatre, the flashy set probably added to our authentic experience.
Highlights included a posse of sex starved matrons led by Patricia Hodge eating grapes from Toby Steven's crotch, and everything about David Haig's performance as the cuckold, combining desperation, inadequacy, and a huge amount of physical effort, with a sweetness which undercut the dischordant notes where violence was threatened to his young,silly and libidinous wife. I read later that this was the first production for a new company formed for the theatre, and I will look with interest at their future work. (Well, that is what I say, but bearing in mind the title of this post, who knows.....)
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