A Christmas Carol,2018捕鱼赢现金可提现手机app有哪些 BBC One

A Christmas Carol, BBC One (4 stars)

  • Brian Donaldson
  • 18 December 2019

A Christmas Carol, BBC One

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A visceral and gritty version of Dickens’ classic festive chiller

Sensationalist organs of the press have already been in predictable uproar over the use of crude language in this brand-new take on A Christmas Carol. For the rest of us, hearing Stephen Graham’s Jacob Marley and Guy Pearce’s Ebenezer Scrooge go full pelt on profanities that were invented many centuries before the dawn of Victorian England, has a visceral surge about it. And in any case, they utter one ‘fuck’ each in the opening hour, hardly a torrent of filth.

This version of Dickens’ seasonal chiller and marker of moral compasses is far from the nostalgia-tinged, Christmas card-friendly depictions of yore; hardly unexpected given that this comes from the adapting pen of Steven Knight, cre真钱捕鱼假吗ator of Peaky Blinders and Taboo. Pearce is a younger than standard but still terribly moody Scrooge, who does utter ‘bah, humbug’ for those clinging on to the story’s traditional catchphrases. While keeping Bob Cratchit (Joe Alwyn) away from his family on Christmas Eve, Scrooge denies all and sundry the pleasures of the season as he spits out accusations of hypocrisy.

But soon enough, his past misdemeanours catch up (Scrooge appears to be an architect of austerity at home and proponent of child labour in far-off lands) when his deceased business partner Marley dips in and out of purgatory to warn him of an impending unleashing of hell. Three spirits (Andy Serkis’ Christmas Past, Charlotte Riley’s Christmas Present and Jason Flemyng’s Christmas Future) all do their bit to try and make their target repent and alter his miserly ways. But does Ebenezer’s long, dark night of the soul lead him down a better path, or will Knight and co blindside us with a less heart-warming ending?

However it winds up, this remoulding of A Christmas Carol is a welcome and wintry depiction of torment. The screen is drained of colour, greys, whites and blacks all dominant, with the only brightness coming from orange flames of a blazing pyre or shimmering candle as Scrooge’s destiny prepares to be sealed.

Episodes watched: 1 of 3

A Christmas Carol airs on BBC One, Sunday 22 December, 9pm; Monday 23 December, 9.05pm; Tuesday 24 December, 9pm.

Gavi注册捕鱼送五元现金n & Stacey Christmas Special, BBC One

Gavin & Stacey Christmas Special, BBC One (4 stars)

  • Jay Richardson
  • 18 December 2019

Gavin & Stacey Christmas Special, BBC One

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Expectations are exceeded with this festive return of Ruth Jones and James Corden’s beloved sitcom

With its focus on disparate families rubbing along and an easy sentimentality that’s seldom mawkish, Gavin & Stacey is perfectly geared up for a Christmas special. And indeed, to a one-off revival, with the festive gathering a logical reason for reuniting the Shipmans, the Wests, and their extended and expanding broods, the twenty-something lovers of the early series now middle-aged parents. Nevertheless, writers James Corden and Ruth Jones have surpassed expectations with this hour-long treat, which not only justifies its return but makes a 捕鱼赢现金下载中心中心医院strong case for bringing back the sitcom for further episodes.

Against the backdrop of chaotic preparations for Christmas dinner in Barry, with host Uncle Bryn (Rob Brydon) at a constant fever pitch of anxiety, Stacey (Joanna Page) worries that raising kids has led to the spark depart her marriage to Gavin (Mathew Horne). Virtually every romantic sitcom of any vintage will explore this theme at some point, but Gavin & Stacey mines its own mythology and nostalgia legacy more satisfyingly and with more credibility than most. The karaoke duet of Bryn and Nessa (Jones) has become part of family tradition within the show, with an intimidating Nessa enjoyably snarling through Shane MacGowan’s part in a rendition of ‘Fairytale of New York’. Meanwhile, an unthinking moment from Gwen (Melanie Walters) threatens to finally reveal the dark secret of that fishing trip so regretted by Bryn and Jason (Robert Wilfort).

What truly makes the episode though, is the deft way in which the show introduces the girlfriend of Smithy (Corden), the well-meaning but bum-note Sonia (Laura Aikman), into the established chorus of eccentrics, and the impact it has upon Nessa and Smithy’s efforts to co-parent their adolescent son, Neil the Baby (Oscar Hartland). Nuanced, funny and relatable, the special’s conclusion will doubtless bring about widespread calls for the show to return once more.

Gavin & Stacey Christmas Special airs on BBC One, Wednesday 25 December, 8.30pm.

Dracula, BBC One – Thi电玩城捕鱼送现金s all-new Dracula has charm and sarcasm to die for but ultimately lacks any heft or bite

Dracula, BBC One (3 stars)

  • Brian Donaldson
  • 18 December 2019

Dracula, BBC One

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This all-new Dracula has charm and sarcasm to die for but ultimately lacks any heft or bite

With the future of Sherlock firmly up in the air, Steven Moffat and Mark Gatiss have turned to another icon of the canon for alternative ribald festive fare. Spread across three consecutive nights and lasting four and a half hours, it might be a tall order to expect viewers to hang in there for the duration. This Dracula has a fair amount in common with Sherlock, the titular neck-chomper oozing charm and spitting out sarcastic lines with an inbuilt menace not a million miles away from Andrew Scott’s Moriarty.

Danish actor Claes Bang does a decent turn as the louche Count who spouts the Queen’s English, while his arch nemesis here (a spirited, god-doubting nun called Sister Agatha) is played by Dolly Wells who is handed the task of mastering a Dutch accent. The gist of the three parts is a well-trod set-up: episode one has lawyer Jonathan Harker (John Heffernan) visiting Dracula’s Transylvanian abode where he is tormented by various ghouls and teased by his shape-shifting host; the second part is set on the bad ship Demeter (yes, this episode is called ‘Blood Vessel’) as Drac heads for England, with the climactic 90-minute drama following the undead dude’s fate on UK soil.

While employing as many different methods as possible of portraying Dracula plunging his fangs into flesh through sound effects, colour schemes, and camera angles, the sheer number of assaults on the jugular leave the viewer a bit numb to it all somewhere around the middle of episode two. Meanwhile the corny lines which Bang is现金捕鱼 下分 forced to utter get wearing rather quickly: ‘I’ve been dying to see you’ or describing a new companion/potential victim as ‘fresh blood’ are typical examples.

Enjoyable up to a point but threatening to become a little ponderous in its telling, there is very little tension afoot. This is especially true in ‘Blood Vessel’ when no one on the ship has a clue who is bumping passengers off, while the jump scares all arrive at the points you’d expect them to. Still, as episode two draws to a close, Moffat and Gatiss leave us with enough of a promise that something much more compelling lies ahead for the last hour and a half.

Episodes watched: 2 of 3

Dracula airs on BBC One, Monday 1–Wednesday 3 January, 9pm.

Buzzcut Double 有没有现金捕鱼游戏送分的啊Thrills: Herpes by Erin Kartsaki

Buzzcut Double Thrills: Herpes by Erin Kartsaki (4 stars)

  • Rachel Baker
  • 18 December 2019

Buzzcut Double Thrills: Herpes by Erin Kartsaki

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Buzzcut presents Erin Kartsaki’s现金捕鱼电玩游戏下载 piece on STI’s and female expectations

In their final iteration before the New Year, Buzzcut present a collection of work that’s as fresh and thought-provoking as ever. The first portion of the evening includes some impressive work in progress from their first Associateship winner, Mamoru Iriguchi, followed by an exhausting movement piece from Greg Sinclair. The night culminates with Herpes by Erin Kartsaki, an intense and uncomfortable work that grotesquely parodies the ideals of femininity that are placed on women without their consent.

Kartsaki is dressed in a combination of caricatured costume and medical gear, staring the audience down as she repeats sickeningly descriptive language describing conception, childbirth and sex. Her use of language and vocal power is captivating, drawing the audience in so that the she can then provoke disgust moments later. This reflects her own views of feminine ideals, as she pulls the audience in line with these views with forceful affect.

Kartsaki’s performance is forceful, if slightly repetitive. Her use of personal experience is performed with a deadpan sincerity that is both comedic and cutting, while her bizarre props and costumes distance the audience from truly understanding her. But, perhaps, this is the point.

As ever with Buzzcut, the performance’s interaction with the BSL interpreter is as entertaining as the work itself. Kartsaki is a performer who knows what she wants to achieve from her work, disregarding the notion of pleasure in the audience’s experience in exchange for clarity and impact of meaning. Herpes is a fascinating piece of work that achieves its message, while foregrounding the personality of a talented and intelligent performer.

CCA, Glasgow, run ended.

Mother Goose Fae Easterhoose捕鱼大赛现金版

Mother Goose Fae Easterhoose (4 stars)

  • Rowena McIntosh
  • 18 December 2019

Mother Goose Fae Easterhoose

credit: Euan Robertson

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Nuanced script and strong performances deliver a heart-felt Christmas message

At the opening of Platform’s Christmas show, the Good Angel and Annunziata Weasel Bog debate whether anyone is completely good and incorruptible. The Good Angel thinks she knows someone who is: Mother Goose, who lives with her daughter Greta and Bruce the goose in a caravan on the fringes of Easterhouse.

Performed by a four-strong, all-female cast, this is a modern take on the tale with plenty of local references, from flying over the Seven Lochs woodland to late night shopping at The Fort. Daughter Greta is a well-read and curious kid, concerned with the environment rather than fairy tales, and what tempts Mother Goose is not lavish riches but a relatable desire to go beyond her means to provide a big Christmas for her family.

The dialogue is interspersed with regular bursts of song, a mix of covers and reworkings of pop tunes, including noughties hits ‘Milkshake’ by Kelis and Lady Gaga’s ‘Telephone’, that both help advance the plot and, alongside occasional dance routines, keep the momentum going.

There’s space to boo at Annunziata Weasel Bog’s wicked plan and the cast dash through the audience sending youngsters into squeals of delight, but the nuanced take on the story keeps the audience captivated. Stepping away from the dichotomy of good and evil, Lewis Hetherington’s script explores generations working together with honesty to secure a better future and the importance of love over excessive material goods. Ending on a touching rendition of Mariah Carey’s festive hit, it is a testament to the actor’s performances that the sentiment ‘All I Want for Christmas Is You’ sounds捕鱼达人现金版公平对战 completely genuine.

Platform, Glasgow, until Mon 23 Dec.

Emilia Clarke to star i真钱捕鱼的棋牌游戏n The Seagull at London’s Playhouse Theatre, tickets on sale today

Emilia Clarke to star in The Seagull at London’s Playhouse Theatre, tickets on sale today

  • Becki Crossley
  • 20 December 2019

Emilia Clarke to star in The Seagull at London's Playhouse Theatre, tickets on sale today

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Game of Thrones star makes stage return in all-new Chekhov adaptation

It has been confirmed that Emilia Clarke will star in a new production of Russian playwright Anton Chekhov’s play The Seagull in 2020. The show will run at the Playhouse Theatre in London’s West End for a limited season from Wed 11 Mar–Sat 30 May 2020. Tickets for the shows go on sale today at 12pm via ATG Tickets. Those who have a ATG Theatre Card membership can purchase tickets from 10am.

Following on from their critically-acclaimed, five-star production of Cyrano de Bergerac, the Jamie Lloyd Company’s second show in the Playhouse Season sees Anya Reiss propel Chekhov’s tale of ambition, love, loneliness and fame into the 21st century.

The Seagull was first produced in 1896 and has been adapted for the screen and stage numerous times since conception. Jamie Lloyd (Macbeth, Betrayal, The Homecoming, Richard III) will direct the production with Game of Thrones and Last Christmas star Emilia Clarke.

The Seagull, the first of Anton Chekhov’s great works, is considered one of the most important plays of the nineteenth century. The story follows four main characters Irina, Boris, Trepleve and Nina and explores the transcendence and destructiveness of love.

The Seagull runs at the Playhouse Theatre from Wed 11 Mar–Sat 30 May 2020. Tickets for all shows go on say at 12pm on Fri 20 Dec. Those who have a ATG Theatre Card membership can purchase tickets摇钱树现金捕鱼手机版 from 10am.

I Can Go Anywhere – Mod-inspired注册送彩金的现金捕鱼平台 asylum seeker drama

I Can Go Anywhere (3 stars)

  • Gareth K Vile
  • 19 December 2019

I Can Go Anywhere

credit: Lara Cappelli

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Mod-inspired asylum seeker drama

Douglas Maxwell’s nimble script dances around issues of identity, sexuality, belonging and asylum: a young asylum seeker, Jimmy (Nebli Basani), arrives in Glasgow and seeks out Stevie (Paul McCole). Jimmy, in seeking棋牌捕鱼送现金6元棋牌 to demonstrate his Britishness, and thereby gain asylum, has embraced Mod culture, from sharp suit via verbal mannerism to the inevitable parker: Stevie, author of an analysis of Mod culture, becomes the ideal man to legitimise Jimmy’s persona.

While large chunks of Stevie’s chat about Mod’s importance appear to have been culled from Richard Weight’s magisterial analysis of ‘Britain’s biggest youth movement’, Maxwell grapples with the notions of culture and identity through a lively prism. Jimmy’s appropriation of Mod as a style misses Stevie’s anthropological theories, setting them at cross-purposes. For the asylum seeker, Mod is a quintessential expression of both cool and Britishness. Avoiding his national identity, or the reason for his quest for asylum, becomes a crucial element of Jimmy’s journey and he discovers community and camaraderie by adopting the look and the sound of the sixties. Stevie, dealing with the collapse of his own career and relationship, sees only the shallow imitation of a teenage dream that has been too easily commodified.

Eve Nicol’s sprightly direction showcases the verbal dexterity of Maxwell’s script – even as it expresses the thoughts of two characters caught up in their own woes and frequently fail to communicate – and pushes the pace along, leaping over the long conversations that end in incoherence and confusion. The epilogue, when the two meet up again in changed circumstances, doesn’t bring much resolution, but the combination of solid performances, Nicol’s dramaturgy and Maxwell’s sensitivity to the difficulties of conversation provoke difficult questions around areas that are often reduced to simplistic caricatures.

Ultimately, the vagueness of Jimmy’s journey, and the sudden twist which sees him break, leaves the asylum seeker an unsympathetic protagonist: until the climax, his insistence on the Mod identity reduces him to a bumbling, twitchy and disconcerting presence: Stevie’s own emotional pain, enhanced by alcohol, shades, by turns, into prejudice and a forceful defence of progressive values. Clear from lazy stereotyping, or offering easy solutions, I Can Go Anywhere is a valuable engagement with contemporary ideas and idealism that falters in some of the dialogue but leaves plenty of space for argument.

Traverse, Edinburgh, until Sat 21 Dec.

Top comedy shows for 2020 – A funny feast of fun ahead from Godley to Godliman and Alexei to Lexx捕鱼赚钻石兑现金

Top comedy shows for 2020

  • Brian Donaldson
  • 20 December 2019

Top comedy shows for 2020

Laura Lexx / credit: Karla Gowlett

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A funny feast of fun ahead from Godley to Godliman and Alexei to Lexx

For those who thought 2019 was a vintage year in comedy (and yes, there were plenty others who thought it was less than epic), 2020 is already shaping up to be another big one. Below is a mere sampling of those who will entertain us over the next 12 months. Here’s 20 for 2020 …

Russell Howard brings Respite show t辰龙3d手机捕鱼现金o Edinburgh Playhouse for 2020 Fringe

Russell Howard brings Respite show to Edinburgh Playhouse for 2020 Fringe

  • Becki Crossley
  • 19 December 2019

Russell Howard brings Repite show to Edinburgh Playhouse for 2020 Fringe

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Hot on the heels of his critically-acclaimed TV shows, comic continues world tour into next year

Russell Howard has been extensively touring with his latest show Respite. Due to demand the comedian will continue to tour well into 2020 and has confirmed he will come to the Edinburgh Playhouse for one show during the Edinburgh Festival Fringe on Tue 18 Aug. Presale tickets for the show are on sale now to ATG Theatre Card holders ahead of the general sale at 10am on Fri 19 Dec.

Hot on the heels of his critically-acclaimed hit Sky One show The Russell Howard Hour, and his Netflix special Recalibrate, Russell returned to touring with new show Respite last year. The new comedy hour is his first stand-up tour since 2017’s Round The World which saw him break the record for the biggest English speaking stand-up show in China and play a record-breaking ten night run at the Royal Albert Hall, overtaking eight in a row jointly held by Frank Sinatra and Barry Manilow.

The Respite tour marks Howard’s third and largest world tour to date. He has performed to audiences in USA, Canada, the Middle East and Europe. The newly added Edinburgh date means those attending the Edinburgh Festival Fringe in 2020 can catch Howard among many other acts.

Russell Howard performs at the Edinburgh Playhouse on Tue 18 Aug. Presale tickets for the show are on sale now to ATG Theatre Card holders ahe柒牌娱乐捕鱼现金可提现ad of the general sale at 10am on Fri 19 Dec.

T现金下分捕鱼游戏he biggest club nights happening in London on New Year’s Eve 2019

The biggest club nights happening in London on New Year’s Eve 2019

  • Alex Johnston
  • 18 December 2019

The biggest club nights (and one comedy night) on New Year's Eve in London 2019

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Party your way into 2020 with these New Year’s Eve bashes

New Year’s Eve is coming, and let’s face it, the most memorable New Year’s Eve experiences probably don’t involve Jools Holland and a studio of guest stars who were probably recorded back in October. It’s time to get out there and live. London is embarrassingly well-endowed with NYE club nights, so we’ve rounded up a selection of parties (and a little comedy, for those who want to sit back) so that you can bring in the new year in mixed company.

E1 and Percolate have joined forces to present a New Year’s Eve bash featuring DEBONAIR, Eris Drew, GiGi FM and many others, spread between the Warehouse and the Black Studio. Pleasurehood has earned a金币可兑换现金的捕鱼 large following since its August launch with its inclusive pricing and its troupe of dancers, led by the effervescent Lucy Fizz, and it’s created a dream lineup for New Year’s Eve at XOYO, with Move D, Joshua James and Hifi Sean. Ages 19+ only.

The great Trevor Nelson hosts a Soul Nation New Year’s Party at Omeara. Your Olympics commentary is at last forgiven, Trevor. At Indigo, Kisstory present their customary selection of old skool, garage, house and R&B.

Hannah Wants, Danny Howard, Monki, Fat Tony, Klose One, ALISHA, Emerald, Jess Bays, Barely Legal are just some of the names ringing in the New Year at Ministry of Sound. At the Prince of Wales in Brixton, Up on the Roof present an NYE bash starring, for the first time, the great Nightmares on Wax.

Elsewhere in Brixton, the O2 Academy is having an all-nighter with Mk 10 presents Area 10 NYE. For those who don’t care how far they may have to travel to get home again, Hip Hop vs Dancehall returns with a secret location New Year’s Eve party, featuring Robbo Ranx, Ras Kwame, DJ Ace, DJ Cable, DJ Raskal and Teddy Lewis.

If you fancy more of an indie-themed NYE, Indie Time Machine presents huge tracks from the 80s to the present at Thousand Island. Or if you just want wall-to-wall hip hop, Crush NYE will deliver at Camden Assembly.

And if you don’t feeling like hitting the floor but want a laugh instead, the Comedy Store has a New Year’s Eve stand-up show from 6pm.