First Cut: Double Lesson, Channel 4

A monologue of school and violence

share this article

Phil Davis, wearied, as David de Gale
Phil Davis, wearied, as David de Gale
Channel 4

If I'm being honest, I never saw the charm of Alan Bennett's Talking Heads. Too many quiet disappointments, too much capital-A Acting. They lacked naturalism in presentation and content, whereas Double Lesson, from Channel 4's First Cut series of quirky documentaries and quasi-documentaries, had naturalism to spare last night.

It probably helped that the show, a monologue given by Phil Davis to and across the camera, was based on real experiences of teachers who had attacked their pupils. Davis, playing David de Gale, explained from his potting shed, where he over-symbolically tended young plants, what had happened in the run-up to the attack.

 

His wife was having unpromising mammograms. He was directing a school production of Cat on a Hot Tin Roof, which the headmaster, presumably fearing that creativity sets children free, disapproved of. One pupil's brother had caused another teacher to hang herself, and now that pupil was throwing a rope around De Gale's neck.

Details were tormenting. The list of teachers' nicknames in the staff room served to warn and wear down the teachers. When the troublesome pupil's parents attacked De Gale at a parent-teacher evening, the son filmed it on his phone, a true child of the 21st century.

When De Gale described the moment before and when he plunged a compass into a pupil's shoulder, Davis was entirely compelling: he took you through it with sharp-angled tumult. The wearied looks on his face, the resignation, the sense of injustice even as he conceded the justice of the case - Davis excelled at making these fleeting or longer lasting, but always enduring. His delivery was not at all actorly but entirely in the patterns of natural speech.

Instead of Bennett's nugatory problems, writer and director George Kay took on modern society: the low esteem teachers are held in, the riot that pupils run, the bleeding of the personal into the professional, the internet and technology. The form may ultimately be artificial (documentaries normally use plenty of tricks to evoke the real), but Double Lesson showed why the well-executed monologue is worth preserving.

rating

0

explore topics

share this article

Support the future of arts journalism

Subscribe to theartsdesk.com

Thanks so much for choosing genuinely independent arts journalism theartsdesk’s mission has never been more important – in an age of relentless algorithmic recommendation, sponsored content and unreliable AI, the expertise and discernment of individual critics deeply embedded in their specialist areas is absolutely vital.

If you want more of that in your life, why not subscribe now?

If you do this before the 31st August, you’ll be able to keep at this “founders rate” for life: your subs will never increase! You can choose to subscribe annually for just £40 simply click here
or monthly for £5 per month simply click here.

Not ready to subscribe?

If you want to support with a little extra or aren’t ready to subscribe just yet, there’s also the option to give direct to our crowdfunder to support our imminent redesign and exciting expansion with new features and collaborations Simply contribute here: https://gofund.me/c3f6033d.

However you choose to be involved, you can proudly say that you are picking the right side in the battle for truth and humanity in the modern information landscape. And we will be very glad to have you on board!

more tv

You can fool all the people some of the time, and some of the people all the time...
Harlan Coben thriller does what it says on the tin
Second series of CIA drama ratchets up the pressure
A cancer operation is just one of the trials ahead for Diddly Squat in a moving new season
The 'Bergerac' star discusses his detective skills, playing troubled men and taking on his first theatre role after a nine-year hiatus
Friendships tested to destruction in Catherine Shepherd's satirical drama
Steve Coogan and Tom Burke lead a formidable cast in Neil Forsyth's drama
Gripping three-part saga is smarter than the average pop-doc
The latest helping of the Jilly Cooper adaptation is much like the first: sparky, filthy fun
The Tony Award-winning star talks female power, sexism and becoming more Scottish with age
Sheridan Smith and Michael Sorcha prove a winning team in this unexpected treat