Television Review: River

It's been a long time since I published a television review on the blog. In fact, checking back through the list, the last one was Happy Valley in June last year. I suppose it's only right that my review this time should be the outstanding hit of 2015, while Happy Valley was undoubtedly the 2014 equivalent.

River begins as a typical crime drama. There are two officers in a car, vastly different in personality but very at ease with each other. It turns into a chase with a suspect that results in the young man jumping from a balcony. Then, ten minutes in, the twist emerges and you realise this isn't your typical crime drama with a love story thrown in for good measure: it's so much better than that.

The twist is that DI River (Stellan Skarsgård) is talking to a manifestation of his dead partner DS 'Stevie' Stevenson (Nicola Walker) as he attempts to find the person who brutally gunned her down in the middle of the street. From childhood, River has struggled with these manifestations, a recurrent one being the nineteenth-century poisoner Thomas Cream (Eddie Marsan). River is quick to point out to his therapist Rosa Fallows (Georgina Rich) that these aren't ghosts he sees and this is evident in the narrative - Stevie never gives River fresh information that aids the case but we see her reacting to the secrets he uncovers about her life in a way that says more about him than her. It's exquisitely clever and, from the pen of Abi Morgan who also wrote The Hour, I expected nothing less. 

At the heart of River is an eccentric man trying desperately to solve the murder of one of the few people in the world who he ever allowed himself to be close to (though not close enough). It's a love story about closing the chapter with Stevie but it's also about him opening up to other people in his life such as Rosa, DCI Chrissie Read (Lesley Manville) and DS Ira King (Adeel Akhtar). While the twists and turns of the actual murder investigation held my interest, the focus on River himself was far more riveting and the entire cast is phenomenal.

Ultimately, while River startled and unsettled me at times, it also made me smile. The final minutes of the first and last episodes are stunning and I'm not ashamed to say I ended this one in tears. It was one heck of a rollercoaster ride over six weeks and I loved it. 

Theatre Review: The Pajama Game

On Monday I was lucky enough to see The Pajama Game at the Shaftesbury Theatre. I've wanted to see a Chichester Festival Theatre transfer for quite some time and this one didn't disappoint. It tells the story of Babe Williams (Joanna Riding) and Sid Sorokin (Michael Xavier) who are on opposite sites of an industrial dispute at the factory they work in - Babe is vigorously campaigning for a raise while Sid is having to tow the line of boss Hasler (Colin Stinton). Caught between a rock and a hard place, the romance between the two falters but Sid endeavours to rescue it - and the workers' cause.

First of all, the musical numbers are fantastic. Each one, I decided, was my new favourite, until it was superseded by the next. With a little distance, I think my favourites were probably 'I'm Not at All In Love', 'I'll Never Be Jealous Again', 'Once-a-Year Day', 'There Once Was a Man' and 'Hernando's Hideaway' (yes, I'm aware that's half the score!). 'I'm Not at All in Love' is Babe trying to convince her colleagues that she doesn't have a thing for Sid, quite unsuccessfully. The camaraderie in that number is brilliant and it fully establishes Babe's character. 'I'll Never Be Jealous Again' is a duet and dance between foreman Hines (Gary Wilmott) and Mabel (Claire Machin), with her testing his resolve to be more trusting of his girlfriend Gladys (Alexis Owen-Hobbs). Honestly, this pair form a wonderful double-act with many little comedic moments throughout the show, especially when Hines can't quite get his trousers back on (long story).'Once-a-Year Day' is a production number involving the whole cast at the factory picnic and the choreography, as it is throughout the musical, is exquisite. The energy of this cast is outstanding. 'There Once Was a Man' is another energetic song with Babe and Sid expressing their love for each other while 'Hernando's Hideaway' is an ensemble number where Alexis Owen-Hobbs shines as Gladys. There's nothing substandard about the songs I haven't mentioned but this is already turning into an essay!

The cast is superb. Joanna Riding captures Babe perfectly, from the punchy and spiky factory grievance committee spokeswoman down to the heartbroken woman who sings a reprise of 'Hey There'. She irresistibly captures the eye during any scene, even when she's not speaking. Equally, her chemistry with Michael Xavier works very well, especially in 'Small Talk' and 'There Once Was a Man'. Xavier himself portrays the conflicted Sid delicately enough and the rest of the cast all have their shining moments, some of which I've mentioned above. However, for me at least, Joanna Riding stands out from the excellent crowd.

The Pajama Game concludes a limited run on 13th September. I'd highly recommend it as a fun night out at the theatre with some memorable songs. Four days later, I'm still singing 'Hernando's Hideaway'...

Television Review: The Fall

I knew we were in for trouble when I heard that The Fall had been recommissioned for a second series. My fervent hope was that the first series would at least tie up its loose ends and a second series would focus on another case. No such luck. I was left feeling cheated by an ending designed to thwart the audience which also had the misfortune of making one of the protagonists seem the slightest bit dim. Not really appropriate for a character who has gracefully pursued the serial killer up until this point. But let's start with the positive aspects.

The Fall tells the story of a serial killer in Northern Ireland. Detective Superintendent Stella Gibson (Gillian Anderson) has been brought over from the MET to investigate one death but she quickly links another to it and soon another body turns up. Unlike most serial killer dramas, though, the audience knows that Paul Spector (Jamie Dornan) is the killer and we follow him as he stalks his victims whilst still maintaining his job as a bereavement counsellor and being a good husband and father. 

I had no issues with the slow, almost torturous, pace of the main plot. It felt realistic and toyed with the emotions of the audience, particularly in the first episode when we get very involved in the life of lawyer Sarah Kay (Laura Donnelly). Showing Paul's relationship with his wife, Sally Ann (Bronagh Waugh), and his daughter, Olivia (Sarah Beattie), infiltrated us into the life of this serial killer remarkably well. There were many excellent scenes, even a few amusing ones, strange as that sounds. The dialogue was also wonderfully written for the most part, slow and thought-provoking. Up until the final few minutes of the final episode I was content with the way the plot had progressed. 

Something I wasn't as happy with were the superfluous subplots. I realise they were trying to establish a team environment, and throw in some typically Irish problems too, but it detracted rather than added to the overall effect. I honestly didn't care who shot the policeman and why there were foreign prostitutes being beaten up or the fact that another police officer blew his brains out - it had absolutely nothing to do with the main story, which was the reason I was watching, and those loose ends weren't tied up either. Fair enough if they planned another series (though I'm not sure if 'planned' is the correct word given how they almost tied up the main plot then unravelled it rapidly) but, still, they needed to give me a reason to care. Ultimately, there were too many characters floating around in a five-hour drama for me to care about. The core of Gibson, Jim Burns (John Lynch), Danielle Ferrington (Niamh McGrady), Spector and his family and the family of Sarah Kay was enough to keep the viewer's attention. More than that was pushing it and I think it showed. 

However, I thoroughly enjoyed The Fall for the main story and, yes, I probably will watch the second series, even if I'm disappointed with how slow they had to make Gibson in the final minutes to facilitate one. 

Television Review: Life of Crime

Life of Crime is a three-part drama with the action taking place over three time periods - 1985, when Denise Woods (Hayley Atwell) first joins the force and investigates the death of a teenager; 1997, when the conviction of her killer is thrown into doubt and the present day, when the investigation is finally concluded. I wasn't overawed by this one, though I very much wanted to like it.

For a start, I thought it latched itself unnecessarily onto 'events', namely the Brixton riot of 1985 and the death of Princess Diana. It added artificiality to the plot for me, when showing the passage of time could simply be done via the medium of Denise's family. In addition, I found the direction lacking. It was too slow with far too many extended scenes that simply weren't necessary. I thought that it could've been easily transferred into a two hour drama special instead of being spread over three weeks but, I suppose, that would've toyed with the format they'd set their hearts on. What happened was that the action became diluted and the mix of the family troubles Denise experiences as a result of her headstrong nature failed to capture my attention as they should have.

I have another construction criticism which, again, could have been remedied by it being a more compact drama. By the time the 'reveal' came around I honestly couldn't recall who the killer was for a good few minutes. This was partly caused by a lack of signposts and partly by the fact the third episode recap was fundamentally useless. Finally, I felt let down in the final episode by the fact that Denise spoke to the first victim's mother in quite a touching scene and then there was no more from her - that was one aspect that deserved more exploration and it didn't get it.

I thought that Life of Crime was an interesting concept but, ultimately, it just moved too slow for me to enjoy it and by the time the third episode came around I was ambivalent about the killer. In addition, Denise isn't an easy character to like or even respect. You don't have to like a protagonist in a drama like this but you do at least have to be concerned about what happens to them and, really, I wasn't. A bit of a let-down but, as ever, this was only my opinion. I'm sure other people enjoyed it.

Television Review: Murder on the Home Front

Murder on the Home Front follows Molly Cooper (Tamzin Merchant) as she joins pathologist Dr Lennox Collins (Patrick Kennedy) in his investigation of a serial killer in war-torn London. The police think they've got their man but Collins is determined to use forensics to prove them wrong but the chase for the killer soon becomes dangerous for Molly. The cast also includes Emerald Fennell as photographer Issy Quennell, James Fleet as Professor Stephens and Richard Bremmer as mortuary assistant Charlie Maxton.

This is based loosely on the memoirs of Molly Lefebure, which explains where the rather odd concept came from. Molly Cooper is headstrong, amusing and a little bit stubborn but there still seems to be something lacking about the character. Stepping into a real person's shoes has that effect on some actors in this kind of role. I liked Molly but I didn't love her. Dr Collins, however, is likely to become a favourite character of mine. His approach to pathology is very modern in a time that wasn't really ready for it and his clashes with Professor Stephens are a good demonstration of that. I also adore Issy, who seems like much more of a real person than Molly does.

The plot of this was reasonably good and I certainly didn't work out the truth before the protagonists. However, my enjoyment was tempered by the unnecessary CGI and gore that looked frankly juvenile. There was no need to have ridiculous bomb effects in the background every time Collins stood in his flat with his curtains open. They looked unreal and added nothing to the overall story. If they'd spent more time making the close-up shots of bomb effects and damage appear realistic, I would've been a lot happier. Instead of focusing on character and plot, they decided to make it 'look spectacular' and, when you try that hard, you invariably fail. I personally got fair more pleasure from Charlie's occasional comments than the London aerial views that were supposed to make me gape. Equally, the excessive comic-book type gore that was used in certain scenes was irritating. I got the feeling that the series didn't quite know what it wanted to be and who its audience was.

All that said, I think this series has potential. The central characters have a good rapport and the concept is a good one. If they cut out the unnecessary CGI and focus on characters and plot then they could have a hit on their hands. I will certainly watch if they make more episodes.

Television Review: The Village

The Village aims to tell the story of a single village throughout the twentieth century. This first series covers on the years 1914-1920 and we focus on the Middleton family - John (John Simm), Grace (Maxine Peake) and their sons, Joe (Nico Mirallegro) and Bert (Bill Jones). Other villagers of importance include the rich Allingham family, vicar's daughter Martha Lane (Charlie Murphy) and schoolteacher Gerard Eyre (Matt Stokoe).

One of main criticisms of this programme is that it is unfailingly grim. In the course of six episodes we had the outbreak of war, shell-shock, alleged desertion, rape by a doctor, suicide, mutilated cows, sick babies, dead children and Spanish flu. Those are only the ones I can remember off the top of my head. However, despite the dreariness, it's difficult to stop watching because it's so brilliantly acted. Maxine Peake has already established herself as one of Britain's most versatile actresses and her performance as Grace merely reiterates that. John Simm is excellent as John, an alcoholic who finds God but is still incredibly difficult to like. Bill Jones deserves praise as young Bert while Nico Mirallegro was heartbreaking in some of his final scenes as Joe. Equally the rest of the cast worked well, especially Juliet Stevenson as Clem Allingham and Augustus Prew as George Allingham.

One aspect of the series irritated me, however. The first five episodes take place over the course of two years but between the fifth and the sixth episode there is a four year jump. This was probably for continuity reasons (they wanted to introduce the next incarnation of Bert before the second series) but it jarred incredibly for me. All the emotion at the end of episode five was left unresolved and, frankly, I think we needed an episode just afterwards to deal with some of that. The cast were certainly up to it so why not? My guess is that apart from the Bert issue they wanted to resolve the war in the first series. Nevertheless, I did get the sensation while watching the sixth episode that I was viewing the first episode of the second series - the viewer was trying to catch-up far too much and scenes which would have been interesting to see (George's successful wooing of Martha, for instance) were ignored. For me, the series lost a little emotional resonance due to this choice.

Will I watch series two? Yes, because I'm invested in a few characters and occasionally there is a scene of absolute brilliance. However, I know several people who have had enough of the bleak atmosphere. I can't say I blame them but this is probably more historically accurate than most programmes set in this era. Finally, it's worth noting that the use of the Peak District scenery is excellent and the score for the series is beautiful. From the opening strains over the first episode I knew I'd carry on watching for the music alone.

Television Review: Shetland

Based on a book by Ann Cleeves, Shetland follows DI Jimmy Perez (Douglas Henshall) and his team as they investigate a murder on one of the islands. The murder is tricky - the victim is an elderly woman who was lured outside and shot but the team can't ascribe a motive at first. She had nothing to steal and no one could really have wanted her dead. The answer may be in the past and the results of an archaeological dig on her land could prove pivotal.

I've read mixed reviews about this, mainly from locals disgruntled at accent representation and light patterns etc. All important in the representation of the islands, I admit, but they didn't hinder the actual drama elements. It's a slow burn drama, that's for sure. The plot itself is intricate but, while I thought I knew 'who' from fairly early on, the 'why' was slower to emerge. I liked the resolution and I liked the way the pace picked up in the last twenty minutes or so, as it needed to.

The landscape is arguably the main character and the gloomy, windswept hills compliment the murder mystery quite nicely. Equally, the music wasn't intrusive and added to, rather than masking, the drama. This is also the role that Douglas Henshall was made for - the dour Scot with a sense of humour and emotion hidden underneath the surface. His personal situation - he lives with his step-daughter, Cassie (Erin Armstrong), while her real father, Duncan Hunter (Mark Bonnar) lives nearby - is interesting and also contrasts the main narrative of family differences by showing a situation that does work well. Of Perez's colleagues, Alision O'Donnell as DC Alison 'Tosh' MacIntosh stands out the most. Young but pretty bright, her interactions with Perez gave the drama a few much-needed humorous touches.

This has certainly been set up for future episodes and I hope it gets them. While I had a couple of script niggles, I think it worked well as a mystery drama which blends into the environment rather than just being pushed on top of it. Accent and pronunciation gripes from locals aside, I think this was a great advert for Shetland and, hopefully, more episodes in future will add to that.

Theatre Review: A Kind of Loving

A Kind of Loving, based on the 1960 novel by Stan Barstow and adapted here by John Godber, tells the story of Vic Brown (Byron Owen) and his troubled relationship with Ingrid Rothwell (Vicky Binns). At first he is infatuated with her but quickly loses interest until Ingrid drops the bombshell that she's pregnant. Vic reluctantly marries her and moves in at her mother's but tragedy soon strikes.

Probably the most vital component of this play is Byron Owen's rapport with the audience. Although the character is downright despicable at times, his direct conversations with the audience keep them almost on his side. A side-effect of Vic's charisma, though, is that the character of Ingrid fades into the background a little. Despite the fact that she is (mostly) in the right, the story is Vic's and the audience certainly identifies with him more. Ingrid comes and goes whilst Vic is onstage much of the time. In addition, the other four members of the cast take on multiple (and sometimes hilarious) roles. When I think of the most memorable scenes it's unfortunate that they include Vic alongside someone else and not Ingrid.

The staging of this works extremely well. The doors around the stage have a dual function: they allow characters to come and go quickly and the plot to jump ahead but they also impose a sense of community on the story. Frequently, there is the sense that Vic's being watched and judged as heads pop out of the doors, portraying with simplicity the tight-knit relationships in a working-class northern town in the late 1950s/1960s. Once in a while there is a dip too far in the lighting (in fairness, that could have just been where I was sitting) but it doesn't hinder the production. In fact, the lighting works very well throughout, a standout moment being the end of the first act where the back of the stage practically glows. The music utilised often certainly compliments the story and helps set the scene - any play that begins with Doris Day singing is definitely for me! Also of note are the brief set changes, comprising of bringing stools, chairs and a sofa on to the stage: these get gradually more amusing as the play goes on with Dicken Ashworth and Christine Cox as Mr and Mrs Brown particularly hilarious offenders.

As I mentioned, four versatile cast members take on thirteen roles between them. A couple of them stand out: Dicken Ashworth as music shop owner Mr Van Huyten has a thick accent but a very distinctive personality that comes across in his lines. His appearances were welcome, although at one point his line was drowned out by the music playing at the time and I was a little disappointed. Also amusing to watch were Jacky Naylor in her brief stint as Ingrid's friend, Dorothy, and Robert Hudson as Percy Walshaw.

There are three scenes which make this play worth seeing on their own and all of them are in the second act. Vic's drunken scene with Percy is nothing short of hilarious and the audience was in stitches as it progressed. Immediately following this was Vic's confrontation with his mother-in-law (Jacky Naylor) then, finally, there was Vic's discussion with his sister (also Jacky Naylor), a poignant conversation which consolidates the themes of the play.

Overall, this was a thoroughly enjoyable night out. Although the decade has changed, the themes of love, ambition and responsibility are still as important as they ever were.

A Kind of Loving runs at Theatre Royal Wakefield until Saturday 23rd March.

Television Review: Dancing on the Edge

Dancing on the Edge, written and directed by Steven Poliakoff, tells the story of a black jazz band trying to break through in 1930s London with the help of some aristocratic and rich friends. It boasts a splendid cast including Chiwetel Ejiofor as bandleader Louis Lester, Matthew Goode as his journalistic 'discoverer' Stanley, John Goodman as rich eccentric Mr Masterson, Anthony Head as Mr Donaldson and Janet Montgomery as Louis's love interest Sarah. It also has an excellent supporting cast including Jenna-Louise Coleman, Wunmi Mosaku, Mel Smith, Jacqueline Bisset, Sam Hoare and Caroline Quentin. However, for all the excellent names in the cast list, this failed on several points for me.

First, let's start with the positive aspects. The production was sumptuous, the colour and decadence of the Imperial Hotel, where the band first makes a splash, contrasts wonderfully with the organised squalor of Stanley's office and other locations associated with the band before their big break. Visually, Dancing on the Edge is nothing short of beautiful. Alongside the locations there are some gorgeous clothes on view and the series does a relatively good job of bringing 1930s London to life. In addition, there are some excellent characters in this piece, whose intentions you're never quite sure of over the five episodes. Most of these are handled well but a few feel incomplete.

The central problem of this series is a murder which Louis Lester finds himself involved in. He has to work out who his friends are while searching for the truth. However, the viewer is pretty much in on the secret - if you've been paying attention - and the question is always 'how' will it come to a head rather than 'who' or 'why'. This dilutes some tension. Equally, the change in singer Jessie Taylor's (Angel Coulby) from star to diva has no depth to it and rather undermines the scenes that follow it. Much more believable is her back-up singer Carla (Mosaku) who is forced to the fore and copes with it admirably.

There were other issues too. Lady Cremone's (Bisset) arc felt strangely unfulfilled and, as one of the more intriguing characters, I was disappointed by that. The romance between Stanley and Pamela (Joanna Vanderham) seemed artificial and I couldn't buy into it, though they were good characters separately. I was more on board with Louis and Sarah's relationship, though I don't think the racial aspects of that were explored half as much as they could have been, considering the era. That, too, was left on a note that didn't exactly reward the viewer for their commitment. It wasn't the type of ending I had a problem with, but their final few scenes together. Perhaps one of my main gripes, though, was the band itself: I don't think their loyalty to Louis, so integral to the finale, was demonstrated at all sufficiently. Yes, Louis was the leader but the rest of the band were woefully left out of most proceedings. This missed both the opportunity to show their relationship to Louis but, also, to show the band's rise from the perspective of someone a little lower down the food chain. They became almost obsolete through the middle episodes and that was sad in my opinion.

Ultimately, I don't think the ending rewarded viewers for their perseverance. It flicked too quickly from the climax to the aftermath. I would've liked the see the reactions of certain characters as they heard the full story but, instead, it was just shown on the pages of a magazine. We don't even know how much of the story came out, an insult to viewers if ever there was one. Dancing on the Edge was artistically beautiful, yes, but I think it sacrificed a lot in character and plot to get there. However, this wasn't the case for all characters: Chiwetel Ejiofor and Matthew Goode were given the opportunity to shine and took it. They, for me, were most certainly the highlights of this series.

Television Review: The Paradise

Although this series was based on a book by Zola, I'm treating it as an isolated drama series since I haven't read the book for comparison. The Paradise tells the story of a country girl who joins the staff of a prestigious department store. Denise (Joanna Vanderham) has come to work for her uncle, Edmund (Peter Wight) but finds his shop across the street from the department store desolate and unable to support her. Starting work in Ladieswear under the withering gaze of Miss Audrey (Sarah Lancashire) she faces animosity from colleague, Clara (Sonya Cassidy), but Denise is full of ideas, some of which capture the attention of owner, John Moray (Emun Elliott). There is a spark between them but Moray is in the process of wooing Katherine Glendenning (Elaine Cassidy), the daughter of Lord Glendenning (Patrick Malahide), although the spectre of his late wife troubles him on a daily basis.

In all honesty, I found the first episode a little disjointed and difficult to watch. That's a sticking point with many dramas and the introduction of Denise to the world of the department store was much less effective than her immersion in it in later episodes. Characters who seemed like cardboard cut-outs in the first episode are fleshed out much more as the series progresses, notably Miss Audrey and the impassive clerk, Jonas (David Hayman). There is enough in the later episodes for me to recommend persevering with this - if you're a fan of period drama, of course.

The sets and costumes seemed perfect, most of the dialogue was in keeping with the period. Denise's accent was a little all over the place at first and, given the fluctuations, I never managed to accurately pinpoint where she was supposed to be from. One of the most enjoyable aspects of this series was perhaps the use of some excellent younger actors who are going to be in many, many things to come. Some of them were already familiar to me - Emun Elliott (Lip Service), Elaine Cassidy and Stephen Wight as Sam (both Fingersmith), Matthew McNulty (The Syndicate) - but Joanna Vanderham and Ruby Bentall as Pauline were both new faces to me.

As the series progresses there are some surprises and some predictable twists, enough of the former to make the latter bearable. I particularly enjoyed the finale, but primarily for the resolution of Miss Audrey's own storyline as much as anything else. The series was left open enough for the BBC to renew it and I hope they do, although I remain a little puzzled by their scheduling. The Paradise was not a midweek offering - it's typical Sunday night entertainment which would've fared better in that slot than I suspect it did on Tuesday nights. While I realise that the schedulers were probably trying to avoid a Downton Abbey clash, pushing The Paradise back until perhaps next year would've ensured it got the audience it deserved. If it returns, I'd like to see it on a Sunday evening where it belongs.

Television Review: Homefront

This six-part series tells the story of four women with connections to the army who struggle with the realities of this harsh life while trying to hold things together at home. Claire Marshbrook (Claire Skinner) is about to marry Major Pete Bartham (Greg Wise) but is finding it difficult to adjust to life as potential stepmother to a teenage girl with her own mind and her own son is causing problems as he tries to fit in. Louise Mancetta (Nicola Stephenson) finds out that her husband Corporal Joe Mancetta (Warren Brown) has been seeing someone else whilst away on tour and is faced with the decision of whether to try and salvage their marriage for the sake of their two daughters or to cut her losses. Tasha Raveley (Antonia Thomas) faces her worst nightmare in episode one when her husband is killed in Afghanistan, leaving her with a young son to bring up. Rounding off the quartet is Tasha's mother-in-law, Paula Raveley (Clare Higgins), an ex-army wife herself who now has to deal with the loss of her youngest son.

There's no denying that Homefront stands up as a piece of drama. It has all the ingredients - death, extra marital affairs, family meltdown - and a top-notch cast who make their characters utterly believable. I think a special mention has to go to George Costigan as Howard Raveley, Paula's husband and the dead soldier's father. He portrayed a grieving yet stoical father perfectly and his scenes throughout the series were some of the most touching. I have to say, though, that I found some of the storyline progressions predictable. I'm not sure if this was a product of lax writing in some respects or whether the signposts were just too clear. Knowing what's coming is not always a bad thing but surprise is also pivotal in a drama like this, and there was only one utterly unpredictable moment through the six episodes which had me genuinely uncertain which way it would go and that was a Joe/Louise moment in episode five. A drama should have more suspense than that.

Nevertheless, this was an enjoyable series. However, the nature of the programme means that if there's a second series there will have to be some potentially irritating character reversals. If there isn't another series then I think it was rounded off rather nicely.

Television Review: Mrs Biggs

This mini-series focuses on Charmian (Sheridan Smith), the wife of infamous train robber Ronnie Biggs (Daniel Mays). By focusing on Mrs Biggs, the programme gets away with showing the Great Train Robbery and Biggs's dodges around the law as he escapes from prison and ends up eventually in South America. However, while it sometimes seems as though Charmian is simply the veil used to show the adventures of her husband, she is actually a fascinating person in her own right.

Sheridan Smith puts in an excellent performance as Charmian through all her ups and downs. Whilst she is a strong woman, she wobbles occasionally and, even when she doesn't, there is still anxiety there. Smith's portrayal is both sympathetic and uncomplimentary where necessary. Alongside her, Daniel Mays puts in the performance of his career (and I've seen him in a few things) and Adrian Scarborough and Caroline Goodall as Charmian's parents are stellar additions to the cast. However, one aspect of this story which makes it difficult to follow is the scope of it. There are many, many people who flit in and out with the only real mainstays being Charmian and Ronnie. Keeping up with who's who is occasionally difficult, but that's an unfortunate side-effect of telling such a story. One thing that can be said, however, is that the cast are excellent without exception.

The twists within this programme are numerous and the producers make clear that they fabricated or enhanced some scenes for dramatic effect. Nevertheless, the piece holds together very well - any fabrication isn't immediately obvious as it sometimes is in such cases (see my review of the 1941 film Blossoms in the Dust for an example of that). There are some truly moving moments which Smith pulls off beautifully but there are a couple of salacious scenes in the final instalment which, I felt, weren't really necessary and disrupted the overall tone. However, as a piece of entertainment this mini-series certainly works. Some of the jumps in time leave the viewer disorientated for a short time but Charmian is an excellent central character and works to ground the viewer in whatever the current situation is. Would I have liked to see more of her in the gaps between the 'events' depicted? Yes, but that probably wouldn't have been very exciting.

All in all, a good drama series with a stunning central performance from Sheridan Smith.

Television Review: Parade's End

I was told before I started watching this that if I persevered past the first episode then I'd enjoy it. That advice was sound, though I can't help thinking that isn't the way to draw viewers to a five part series. While I understand the need to frame the story correctly, I think much of what was covered in the first fragmented episode could have been inserted elsewhere in the form of flashbacks (which we got anyway) so that the first episode didn't become a mess of confusing images. It set up back-story, yes, but at the expense of front-story.

To briefly surmise: Christopher Tietjens (Benedict Cumberbatch) married Sylvia (Rebecca Hall) when he discovered she was pregnant, despite not being certain that the baby was his. That act sums up his whole demeanour - he is a noble man, often misrepresented and a product of the past on a collision course with the future. Although he falls in love with Valentine Wallop (Adelaide Clemens) he clings on to the remnants of his marriage even while Sylvia indulges in affairs and stays with him only to make him suffer. She is a thoroughly despicable character with few - if any - redeeming features. It's a mark of how well Rebecca Hall portrays her that I detest the character and not the actress.

WWI is an integral aspect of this story. Tietjens shuns protection in order to go into the trenches, struggling with memory loss and shell shock after his first return from the trenches. We see more when he goes back, experiencing the destruction and pointlessness through Tietjens eyes. There are a few bitter comic moments as orders are given and rescinded and the establishment proves itself to be the incompetent force that history depicts. These are grim moments of humour but in an adaptation as heavy as this I'll take whatever I can get.

I don't mean to say that it wasn't a good adaptation of a good original story by Ford Madox Ford. It is very forceful in places, dramatic in others and emotional when the cap fits. It has an excellent supporting cast including Roger Allam as General Campion, Rupert Everett as Mark Tietjens and Miranda Richardson as Mrs Wannop. There is also a spectacular performance from Rufus Sewell as Reverend Duchemin, a mad vicar who perturbs both other characters and the audience.

There is a lot crammed into five hours: war, suffrage, marriage, infidelity, deceit and misunderstandings. As a consequence, it is very heavy and requires attention. That said, if you make it past the first episode then there are some exquisite scenes to enjoy. The period detail is wonderful and it is beautifully shot and presented. There are a few particular scenes which stick in my head. The first is when Christopher and Valentine get lost in the fog and spend the night looking for the way home. It's beautifully set-up and executed and sets the tone for their romance. Secondly, there is a quiet little scene when Christopher is showing his son, Michael, the well at the family estate. It's a touching little moment, although I can't really explain why.

All in all, I'd recommend persevering with this, though don't expect an easy ride.

Television Review: Leaving

Leaving stars Helen McCrory as Julie, a married hotel events organiser, and Callum Turner as Aaron, an unemployed ex-student struggling to find his place in the world. They meet at Aaron's brother's wedding (to Aaron's ex-girlfriend) and then he comes back for a job. They grow closer as they work together, despite a twenty year age gap, and eventually an affair ensues. Julie is trying to get him out of her system but it could prove to be more than that in the end.

I was surprised by how emotional this three-parter was, given that the trailer had focused mainly on the sensational final episode and a half. In actual fact, the build up to the affair is realistically portrayed and the unlikely romance doesn't seem all that unlikely by the end of the first episode. Helen McCrory put in an excellent performance as Julie, as did Sean Gallagher as her husband, Michael. It was certainly an emotional rollercoaster and Julie's motives and reservations were clear throughout.

There were, however, a few bits that didn't work for me. Julie mouthing the words to the wedding vows seemed a contrived way of showing that her life was lacking romance and the piece is very cosy and middle-class. Michael's own attempt at a dalliance with a colleague demonstrates another side to the family situation but the first few scenes about it jar on the rest of the action which is solely focused on Julie and Aaron. Also, while the young daughter is given plenty to do, the son of the family is little more than an irritating stereotype. Much more could've been done with him. While I don't generally agree with stretching dramas out for the sake of it, I do think this could've done with another episode. The events of the final part seemed a little too rushed, hurtling to a climax that, yes, was emotive but could've been even more so.

Television Review: The Scapegoat

The Scapegoat, based on the 1957 novel by Daphne du Maurier, tells the story of John Standing and Johnny Spence, two men who are remarkably similar in appearance. Standing, an out of work teacher, and Spence, a failed businessman, (both played by Matthew Rhys) meet in a pub and Spence decides he can use the situation to his advantage: he gets Standing drunk, steals his clothes and wallet and effectively gives his life to him. Standing is awoken the next morning by Spence's chauffeur and finds himself pushed into being Johnny Spence, who turns out to be a thoroughly despicable man. His wife is so scared of him that when she breaks a special plate of his their young daughter offers to fix it so he'll be mad at her and not her mother; his sister blames him for a tragedy; his mother has a morphine addiction funded by her son and he's sleeping with his sister-in-law. Added to which, he's completely ruined his business. Standing sets about fixing things as best he can but what will happen when Spence returns to claim his life?

This only works if you can look past the three levels of implausibility it poses at the start: firstly, that two men who look so similar would meet at a moment so fortuitous to one; secondly, that the reluctant impersonator wouldn't run away the moment things became clear; thirdly, that the family wouldn't recognise the imposter. In fairness to the story it attempts to deal with the last two but not wholly successfully. However, an excellent cast makes up for any plot deficit. Aside from Matthew Rhys the cast includes Eileen Atkins as Lady Spence (the mother), Jodhi May as Blanche (the sister) and Sheridan Smith (the sister-in-law). Phoebe Nicholls also deserves a mention as housekeeper, Charlotte. They combine to make a perfectly plausible - if completely dysfunctional - family unit.

I think the length of the episode (100 minutes) suited the story. Any longer and the situation would've become ridiculous but there was enough tension in the plot to keep it going for this length of time. There are a few particularly memorable scenes but I don't want to spoil the story for anyone who doesn't know it. Worth a watch, in my opinion, but don't expect action and thrills. This is much more slow-moving and all the better for it.

Television Review: The Bletchley Circle

I was drawn to this series initially by the calibre of the cast. It stars Anna Maxwell Martin (who I adored in South Riding and The Night Watch), Rachael Stirling (Tipping the Velvet, enough said) and Julie Graham alongside a relative newcomer, Sophie Rundle. The four play women who worked at Bletchley Park during WWII but by 1952 they are leading mundane lives. That is until Susan (Martin) begins tracking the progress of a serial killer working his way around London (she has a collection of newspaper clippings tacked to the back of her bedroom mirror so that her husband doesn't find out). She spots a pattern in the killings and takes it to the police but, of course, they laugh her off. She feels she has no option to recruit the other girls for their various skills - Millie (Stirling), Jean (Graham) and Lucy (Rundle).

There are numerous twists in this one. Although we do catch sight of the killer 'at work', these moments mainly serve to heighten concern for the protagonists. They are four very clever women but they keep finding themselves stonewalled. When they finally do get the police to listen to them it becomes apparent that this may be bigger than any of them imagined.

The cast really were superb, though they were assisted by exceptional writing and wonderful period detail. The subject dictates that the drama should be dark and atmospheric and it succeeds. It offers a fresh twist on the period murder mysteries by introducing these four amateurs, all with different personalities and experiences since the end of the war. Intermingled with the suspense are snapshots of their lives - Millie quits her job in order to focus on the investigation while Lucy battles with her abusive husband. Susan, meanwhile, is pushing her own husband to his limits by refusing to tell him what's going on.

The Bletchley Circle succeeds on several levels, providing a tightly-plotted and compelling mystery drama that isn't a carbon copy of other programmes. I think it has potential to be a real hit and I hope that ITV have the courage to recommission it.

Television Review: Best of Men

Best of Men, based on real life events, tells the story of a German refugee at the end of WWII who starts work with partially paralysed patients who have basically been left to rot. Dr Ludwig Guttman (Eddie Marsan) gathers enemies around the hospital (and makes himself unpopular with the men) as he begins a new regime to make the men fit for living again in their new circumstances. He realises that there is something missing from their new lives and begins wheelchair sport contests which will eventually lead to the establishing of the Paralympic Games. Amongst the accomplished cast are Rob Brydon as Corporal Wynne Bowen, Niamh Cusack as Sister Edwards and Nigel Lindsay as Mr Heath.

This was supposed to be an inspirational and heart-warming piece of drama and it succeeded. That's not to say that it doesn't examine the vicious after-effects of war because it does. The first few minutes particularly, where paralysed Private William Heath (George MacKay) dreams of how life used to be and then comes back to reality, are especially hard-hitting but there are moments like this throughout. Bowen's character is an interesting one - someone who's very sarcastic but hides behind it to mask how uncertain he is of his future with his wife and children. He's adamant he wants a divorce because he can't live with his family in his disabled body but Guttman won't let him off so easily. Equally, Heath is being swept along by the plans of his father to put him in a residential home but Guttman warns him of what life will be if he agrees to that.

There are comic touches in what could've been a very heavy drama. Guttman becomes embroiled in a war of his own with fellow doctor Dr Cowan (Richard McCabe) who, it transpires, is happy for the injured men to be hidden away and forgotten. Although his relations with his own staff are strained at first, Guttman wins them round and eventually they are as convinced of his methods as he himself is.

I enjoyed this, even if I had difficulty with Marsan's heavy German accent at times.

Television Review: Case Sensitive S2

My review of series one can be found here.

In all honesty, I remember very little about the Sophie Hannah book this was adapted from, despite enjoying it so much! That meant that I again came into watching this with something of a fresh mind but it also means I can't point out discrepancies between the book and adaptation. No matter - this stood up well as a piece of drama in its own right once more.

Olivia Williams and Darren Boyd return as DS Charlie Zailer and DC Simon Waterhouse. Charlie's new acquaintance, Ruth (Eva Birthistle), mentions that 'a friend's' partner has claimed to have hurt someone in the past. Charlie's astute enough to know Ruth's talking about herself and stubborn enough to check out the man she thinks she's talking about - Ruth's husband, Jason. Unfortunately, when she pokes around Jason's house she finds his dead body there and a murder investigation begins. Prime suspects are Ruth and her new partner, Aidan (Theo James), a talented pianist but with the mysterious past he half-confided in Ruth.

I won't, of course, ruin the ending. However, I will say the whole arc was masterfully put together. One particular aspect that shone for me was the use of music - linked primarily to Aidan's piano skills - which provided the backdrop to some of the tense moments throughout the two episodes. I also appreciated seeing some of the lost sets from The Bill being used again, though it did make me miss it more. There were some moments that deliberated detached from reality - as Ruth watched the world go by in the police station for instance - but they were sparse and worked when used.

And what about the personal relationship between Charlie and Simon? Well, it certainly moved on a bit. Both parties experienced a bit of jealousy, Charlie when Simon seemed overly interested in DC Amber Williams (Christina Chong) and Simon in his roundabout way at various points. As I noticed in the first two-parter, Olivia Williams and Darren Boyd have a definite connection as Charlie and Simon. It's a partnership that works, even if Charlie - and the viewer - want to bash his head against a brick wall on occasion. I think it's difficult to sympathise with Simon as much as you do in the books because Charlie's viewpoint is the predominant one. That said, more scenes focused on Simon would be scenes of no movement. Boyd plays him to perfection, hovering just on the boundary between genius and irritant.

There was tension simmering throughout this one - both crime related and personal - and I'm already hungry for more. I do hope ITV don't disappoint me...again.

My Heart - Doris Day

There are so few women still around who represent what I consider to be the best of old Hollywood. These women had voices and talent beyond the realms of modern experience. They could act, they could sing and they could dance - compare that to some of the lifeless performers of modern cinema these days and see where it gets you. The likes of Debbie Reynolds, Angela Lansbury and Mitzi Gaynor are fortunately still with us. However, until the last few months, everybody who didn't know otherwise believed Doris Day had left us. Doris has actually spent her years out of the spotlight caring for animals in a small town in California. This new CD of songs includes some beautiful unreleased tracks which she mainly recorded in the 80s. They include some more modern standards: 'Daydream', 'Disney Girls' and 'You Are So Beautiful', along with other songs that she picked because they demonstrate her love for her late son, Terry Melcher, and her passion for animals.

It's an outstanding CD. The whole thing melts together so perfectly that it's very difficult to pick favourite songs from it. Every track is so wonderfully Doris, the smile that's evident in many of her recordings is more than evident here. Her version of 'Daydream' beats most others for me - it's a finger-clicking smile-fest, perfectly suited to her smooth voice. Equally, 'Disney Girls' is gentle and wistful and 'You Are So Beautiful' is - there's no other way to say it - absolutely beautiful itself. The album includes a tracked called 'Happy Endings', sung by Terry but introduced, quite bravely I think, by Doris herself. 'My Buddy' is probably the most painful recording to listen to if you know anything about her close relationship with her son. 'Life Is Just a Bowl of Cherries' is included on the album because it was Terry's favourite song of hers, and it truly is gorgeous.

If I had to pick one song that stands out a little above the rest it would be the song that has been picked as the UK single and was consequently played quite a bit in the build-up to the release - 'Heaven Tonight'. It's an easy-going love song that snared me at first hearing. But, to be perfectly honest, there isn't a dud track in the bunch. I know Doris fans will be delighted with this album and if, Doris has any further inclination to check her archives for unreleased material, I can guarantee there will be several million people interested.

Television Review: The Night Watch

I love Sarah Waters. I've watched the adaptations of Tipping the Velvet, Fingersmith and Affinity and enjoyed them all. In the case of Affinity I think I preferred the adaptation to the book. However, The Night Watch struck me as a completely different animal. How do you dramatise a book that begins at the end and works backwards? Thankfully, the concept worked better than I thought it would on screen and a good story was backed up by some outstanding performances.

Credit has to go to Paula Milne for a terrific script and to director Richard Laxton. They brought a difficult novel to life and the bomb scenes in particular were haunting. The barest dialogue in those was enough. Of course, an excellent script and direction only count if you've got a great cast and The Night Watch certainly had that.

Anna Maxwell-Martin was known to me for her recent role in South Riding. I have to say, I wasn't sure she was right for the role of ambulance driver Kay but she fit the part very well. I couldn't warm to her immediately but - as with most characters - as we moved backwards I understood her more. It's difficult to pick my favourite Kay scene but her breaking down in the rubble when she thought her beloved Helen was dead was painful to watch - along with what happened directly after that.

Claire Foy as Helen did very well with a character whose motivations aren't as clear-cut as those of other characters. Equally, Anna Wilson-Jones as Julia was alluring, manipulative and guarded - sometimes all in the same scene. As for Jodie Whittaker playing Viv...well, I think I've found one of my favourite actresses for years to come. She was by far my favourite character in the adaptation when I felt indifferent to her during the novel at times. Harry Treadway as Duncan, Viv's brother, was something of a revelation to me since I wasn't expecting to like him. Duncan's a pretty complex character but, to my surprise, the layers were there without the necessary explanation. I particularly liked the prison scenes, especially when he started crying in the visiting room. That was another of those haunting scenes this adaptation did so well.

I could list almost every scene if I began talking about the ones I liked but I'll settle for a select few: Julia and Helen's conversation in the rain; Viv's first encounter with Reggie on the train; Kay's decision to lie for Viv as they travelled to hospital; the bombs falling on the prison... Honestly, the list goes on and on.

As with the book, you really need to watch this again to get the full effect of it. Did I like it? Yes. More than the book? No. But I think that's true of most adaptations. It certainly stands on its own feet though.