Contains some spoilers for the episode
It must take a huge sense of self-confidence and belief to be the show-runner of a huge international series like Doctor Who, to the point of hubris and arrogance. That’s not a criticism – I just don’t see how anyone could do the job otherwise. Part of that mindset must include never fully accepting when you’ve made a mistake – or at least, not one that you can’t rectify down the line.
Back in season 8, Steven Moffat picked children’s novelist Frank Cottrell-Boyce (of London 2012 opening ceremony fame) to write an episode for Doctor Who. The end result – “In the Forest of the Night” – sharply divided both fans and critics, and was the least popular story of that run. Personally I liked the episode somewhat better than most people seemed to and found its change of pace refreshing, but even so I can’t say I was clamouring for more of the same anytime soon.
But Moffat sticks to his guns, and Cottrell-Boyce gets a second bite of the Who apple with this week’s episode “Smile”. This sophomore effort shows that the writer has worked hard to address the criticisms of his maiden outing and in some areas is much improved, while other aspects show much the same hallmarks of Cottrell-Boyce’s work – for both good and ill. Read the rest of this entry »
Contains some spoilers for the episode
It wasn’t until the opening credits rolled on Saturday’s brand new series of Doctor Who that it was fully brought home to me just how long it’s been since we’ve had a proper first-run episode to savour, Christmas specials notwithstanding. It’s been more than 16 months since the end of series nine – already the travels of the Doctor and Clara seem like they belong to a completely different era of the show.
Clara’s extended tenancy in the Tardis also means that it’s been four and a half years since we last had the pleasure of being introduced to a new companion. In that time we’ve celebrated the 50th anniversary of the show, seen one Doctor bow out and another take over who himself is already about to move on. Fond as I was of Jenna Coleman, that’s probably too long a period than is entirely good for the show: while the Doctor might regenerate from time to time he’s still the same character, and these days it’s the companion who offers the best opportunity for the production team to refresh the show from the ground up with new blood.
Given that series star Peter Capaldi and showrunner Steven Moffat are both moving on after the current run, they would have been forgiven if they’d simply opted to just coast to the finish line on auto-pilot, before handing things over to Chris Chibnall who will do his own thing in 2018. But that’s not their way; revitalised by the lengthy interval between seasons, Moffat throws himself into this latest reinvention with the enthusiasm of a three-day-old puppy playing with a new favourite toy rather than the jaded 55-year-old who’s been grinding away at this every day for almost eight years now. It’s not the first time he’s reimagined the show: he transformed it into a charming fairy tale with Matt Smith’s first season, before going for a more hard-edged science fiction approach with convoluted time travel plots that continually tested the audience’s ability to keep up. He reinvented the show once more when Capaldi took over the role by daring to be darker, and played with the format again with more two-parters in 2015 than ever before. Read the rest of this entry »
It’s been exactly a year since Doctor Who‘s most recent new adventure, and so the anticipation ahead of the 2016 Christmas special was sky high. When “The Return of Doctor Mysterio” finally arrived on Christmas Day, it quickly turned out that – not for the first time – the show has wrong-footed us and that it isn’t the episode we might have thought that we had been expecting and in some cases dreading: Doctor Who has moved on. And that’s a good thing.
In the past, showrunner Steven Moffat has delivered some of the most Christmassy of Christmas specials imaginable, from 2010’s “A Christmas Carol” to 2011’s “The Doctor, the Widow and the Wardrobe”, 2012’s “The Snowmen” and 2014’s “Last Christmas”. By comparison, last year’s “The Husbands of River Song” was somewhat light on the Christmas trappings, and this year’s story goes even further with only a brief prologue at the start being set on Christmas Eve. Even then it’s only so that eight-year-old Grant Gordon (Logan Huffman) can understandably mistake the ‘old guy’ hanging upside down outside his New York apartment block window 60 floors up in the air for Santa Claus. After that however you’ll look in vain for any festive feels. Read the rest of this entry »
I confess that I had a bad feeling about this year’s Doctor Who Christmas special as soon as I heard that noted comedians Matt Lucas and Greg Davies were among the main guest stars, and that one of the characters was King Hydroflax. This had all the hallmarks of the show lurching firmly into ‘silly’ territory, the kind of thing that I don’t take to at all well. My only hope was that the promised return of the divine Alex Kingston as the inimitable River Song would counter the potential downsides.
Even with that hope in mind, my first viewing of “The Husbands of River Song” did not go well. It really was very, very silly indeed to the point of being a wacky cartoon caper (there’s even a comedy ‘whoosh’ sound effect when River throws a head-in-a-bag to the Doctor at one point), and just to make matters worse there’s a heavy added layer of Douglas Adams humour to the whole thing – the kind of surreal shenanigans that only Adams himself could ever really pull off and that everyone else is best advised to stay well away from.
The resulting confection managed to hit all the wrong buttons for me, and in entirely the wrong order. To make matters worse, I even dozed off in the middle – although admittedly, this was at least as much to do with sinking into a food coma after Christmas dinner as it was a justified critical verdict on the show. Read the rest of this entry »
After enjoying the 25th anniversary production of The Phantom of the Opera a couple of months back, I was lured into wanting to watch the equivalent birthday celebrations of another long-running hit musical, Les Misérables. Unlike Phantom – which I’ve been a fan of since it opened – I’ve remained stubbornly resistant to the charms of Les Miz and never seen or listened to it, despite some obvious overlaps with Phantom (both set in 19th century Paris, adapted from works by French authors, both shows being produced by Cameron Macintosh, starting in London just a year and a day apart in 1985/6 and still running today.)
Those overlaps prove rather superficial and the two shows really are very different, starting with Claude-Michel Schönberg’s score and Herbert Kretzmer’s English translation of Alain Boublil and Jean-Marc Natel’s lyrics. This is a far more raw and raucous musical, a world away from the precision-crafted polished melodies of Andrew Lloyd Webber, more akin to the sung-thru style of Stephen Sondheim’s Sweeney Todd than to Phantom. Famously Les Miz was about the biggest hit show never to have spawned a hit single, but that changed when Susan Boyle sent jaws dropping to the floor with her rendition of “I Dreamed a Dream” on Britain’s Got Talent. That said, many of the key numbers in Les Miz felt familiar to me: either the show’s score is more widely covered than I’d realised, or it relies cleverly on well known authentic melodies and anthems of the place and period to give it a timeless feel that bestows a sense on these songs being old friends you simply hadn’t met before but take no more than a minute to become comfortable companions – which is a genuine high achievement.
Lionel Bart’s Oliver! is a particular self-confessed influence on the show, as is clear in the style of the ensemble songs for the destitute French underclass including “At the End of the Day”. It even has direct equivalents of Fagin (Thénardier) and the Artful Dodger (Gavroche). However, where Oliver! has an underlying sense of hope and gaiety to it, Les Miz is never far from the biting edge of abject poverty and angry despair that led to first night critics dubbing the whole venture “The Glums.” But just like the original Dickens books, Victor Hugo’s source novel is a huge, sprawling affair bursting with vibrant characters and storylines to the point where condensing it down into a three hour show is a feat in itself. Even so, much of the first act struggles with a stop-start episodic broken-up feel to it as we career through a range of situations, locations and characters who arrive in one scene and depart in the next. It’s all necessary backstory, but it’s still a relief when we get to 1830s Paris and a more conventional narrative asserts itself after what feels like a Cliffs Notes highlights package on fast-forward.
The linking thread is ex-convict Jean Valjean breaking parole and his flight from intractable policeman Inspector Javert, and the two men’s face-to-face confrontations are the dramatic highlights of the show. However Valjean is promptly missing from a lengthy section at the start which concentrates instead on the descent into depravity of factory girl Fantime, but her time in the spotlight is shortlived. There’s also the story of Valjean’s love for his adopted daughter, Cosette; how she falls in love with a young student called Marius; and Marius’ involvement with student revolutionaries leading to the 1832 Paris Uprising that dominates much of the end of Act 1 and most of Act 2. As a result some stories get squeezed rather too tightly in the crush – the Cosette/Marius romance is malnourished and doesn’t have anything like the emotional tug that a nominally secondary plot strand – Éponine’s doomed unrequited love for Marius going unnoticed – heartbreakingly manages alongside it. In the end the show tries valiantly to reconcile its two main themes of Valjean’s quest for personal redemption with the revolutionary call to arms to build a better world for all: it doesn’t entirely succeed but it’s a worthy attempt, and in its ambition and complexity it makes Phantom’s streamlined clean-and-simple plot seem rather threadbare by comparison.
This 25th anniversary production is similar in format to the one staged for Phantom a year later, but clearly Cameron Macintosh learned a lot about what did and didn’t work here. This Les Miz is a concert staging, meaning that while there’s some set dressing, props and costumes, the performers sing to a bank of microphones at the front of the stage and there’s consequently little scope for physical performances. For the most part this isn’t too much of a problem and the show is carried on the emotional intensity of the outstanding individual performances, but some key plot points (such as the fate of several characters) are lost without the proper staging. Not a problem for devoted fans of the musical who know it all backwards, though – or anyone with access to a plot synopsis online, in my case.
The performers are mainly drawn from Les Miz casts down the years, with some additional stars brought in for the occasion. No one will begrudge the renowned tenor Alfie Boe delivering a fine performance in the central role as Valjean, and US reality show finalist Samantha Barks is also rather excellent as young student Éponine. Perhaps the most obvious-seeming piece of “stunt casting” is the inclusion of Little Britain’s Matt Lucas as Thénardier, but he has a surprisingly good voice and is certainly accomplished at producing effective comedy grotesque characters on the stage, so it’s actually an excellent fit and works well: his first song “Master of the House” is a glorious show-stopper.
More troublesome is the casting of US teen heartthrob Nick Jonas as Marius. His voice is noticeably very thin and nasal compared with the accomplished stage performers around him, and he sounds just like what he is – a modern day pop star, which will be very jarring for Les Miz aficionados used to the booming tones of Michael Ball who created the role in the original London run. But this may be a deliberate creative choice by the production, to differentiate Marius from those around him, adding some variation to the vocal line-up and making him an appreciably younger and less confident character in keeping with the story. It’s noticeable that when Jonas comes to Marius’ ‘coming-of-age’ song “Empty Chairs at Empty Tables” – perhaps my favourite song of the whole show – he is assuming a much stronger, deeper voice to show his growing maturity.
It doesn’t help Jonas that he plays many of his early scenes against Enjolras, the charismatic leader of the student revolutionaries, and played here with such a magnetic presence that the performer threatens to steal the show outright from under everyone’s noses despite limited stage time. That was even before I recognised the voice and realised that it was none other than Ramin Karimloo, so superb in the 25th anniversary Phantom and who is currently on stage in the West End production of Les Miz – now in the lead role. Another member of the student rebels is played by Hadley Fraser, Raoul in the Phantom 25th show and currently also on stage in the West End playing Javert to Karimloo’s Valjean. This strange, small, porous world between the two musicals is underlined by the appearance post-show of the lauded original Valjean Colm Wilkinson and one of his most popular successors in the role, John Owen-Jones – both of whom are also in the Phantom 25th post-show reprising their other shared role as the Phantom himself.
As for the Blu-ray, it is a fine presentation – colourful and detailed for the most part although some shots requiring long-distance extreme close-ups (because of the sheer size of the O2 Arena in which it was held, stadium-style) appear flattened and soft as a result of the technical limitations, and the lighting is sometimes not optimal for filming. The soundtrack is nicely loud and rousing, with a good stereo feel to it and all the singing and instruments crisp and clear. Sadly the only extra is a brief 5 minute trailer/puff piece for the 25th anniversary performance with flashes of the history and international success of the show.
This disc isn’t quite up there with its Phantom sibling and the concert staging means it’s not as good a surrogate as seeing the show itself, but it is certainly good enough to convert me from my stubborn former resistance to heeding the rousing call to arms of “Do You Hear the People Sing?”, and it made me a genuine fan of the production. It might be 26 years after first night, but better late than never – and who’s counting anyway? At least I’m on now board in plenty of time for the 50th anniversary celebrations!