What joy to be back with the Shipman and West families, created by writing team James Corden and Ruth Jones.
What Jenna (Tatiana Maslany, star of Orphan Black), likes doing is wrangling and coordinating, not creating – she hates that - which makes for a refreshing change in a heroine. Her new boyfriend Leon (Jay Duplass, pictured below, of the Duplass brothers), an ambition-free photographers’ assistant, tells her that, given her talents, what she must do is become a film producer and, in a lightbulb moment, her future is suddenly mapped out. They’ve just met while clubbing – he’s also a DJ - and there’s an instant attraction between them on the dance floor.
This is the third Emlyn Williams piece to be presented here in a decade: The Druid's Rest in 2009 was followed by the enormous success of Accolade, directed by Blanche McIntyre, two years later.
The Beggar’s Opera: does any piece of music theatre promise more fun and deliver more tedium? Yes, it was the satirical smash of 1728; yes, it inspired Brecht and Weill; yes, with its combination of popular melodies and a topical script it was effectively the world’s first jukebox musical. I get all that.
When Sean Mathias wrote A Prayer for Wings 35 years ago, the subject of young carers devoting their lives to parents with disabilities had just come as a revelation.
Memory involves places, people, things and words, especially words. This abstract proposition is given knotty life in Welsh playwright Ed Thomas's extraordinary new play, On Bear Ridge, which comes to the Royal Court after opening at the Sherman Theatre in Cardiff last month.
One of the more harmless pastimes of us retired academics is rummaging around among the so-called minor contemporaries of great and famous composers. It often turns out that quite a few of them aren’t minor at all, or at least not minor enough to have to have retired academics dig them out.
I wouldn’t want to live in Jack Thorne’s head. Nor Sarah Lancashire’s, for that matter. The Accident is Thorne’s latest four-part drama, and the final instalment in his grim and gripping trilogy of shows for Channel 4.
The trend-hopping taste-makers who run British literary publishing have lately decided that “working-class” writing merits a small dole of their precious time and cash. To assess how long this latest patronising fad may last, check out the availability of James Kelman’s fiction: three decades of ground-breaking modernist work by a scrupulous innovator, now all but buried by Penguin, and largely consigned (a couple of titles apart) to second-hand limbo.
Life on the Welsh coast isn’t getting any easier: defendant Madlen was found guilty of murder, husband Evan was coming home from prison, and Faith had just given Steve Baldini a rather uncomfortable snog on the beach. She’s probably pining for that first series now, at least the hubby was out of the picture.