http://thesirenswansea.wordpress.com/2011/05/03/diary-of-a-fresher-back-on-the-costa-del-swan/

New blog over the Siren

http://www.cultbox.co.uk/reviews/dvd-a-blu-ray/676-doctor-who-a-christmas-carol-soundtrack-cd-review

http://www.cultbox.co.uk/reviews/dvd-a-blu-ray/616-being-human-original-tv-soundtrack-cd-review

http://www.cultbox.co.uk/reviews/dvd-a-blu-ray/560-glee-the-music-volume-4-cd-review

http://www.waterfrontonline.co.uk/op/article/cut-or-keep-awards-season

Danny Boyle’s new production of Nick Dear’s take on the classic gothic Shelley novel Frankenstein makes several important departures from the original story. Far less interested in Victor and his dangerous, sacreligious pride than the novel it is based on, the play instead chooses to focus on the creature and his extreme loneliness – the pain of which is stunningly conveyed by Cumberbatch, who we see transition from childlike, fumbling innocence to educated, vaguely autistic misery over the course of two hours, displaying stunning range on the part of the actor.

Although changes are made, they serve to highlight key themes from the original text: for example when the now educated but newly rejected Creature torches the home of the De Lacys, the image of him brandishing a club of stolen, ultimately destructive fire recalls his own creator’s Promethean theft of divine knowledge. Similarly, issues of religious determinism, original sin and the ethics of galvanism that are implicit in the text are made explicit, discussed and brought to the forefront – never has it been clearer that the Creature’s story is an echo of the biblical creation myth.

The parallels between Victor and his hideous progeny are clear in this version – as well as, interestingly, with Victor’s own father, whose cry of “what have I brought into the world?!” (I paraphrase) is a clever addition, calling into question the ultimate responsibility of all parents and creators for the actions of their offspring. Parenthood is a prominent theme in this production, with the De Lacys pregnant (the death of the pregnant couple perhaps symbolising the destruction of traditional creation by Victors unnatural methods) and Elizabeth herself explaining to her husband that if he wanted to create life, he could simply have given her children instead of violating the natural order. It is no coincidence that the female monster is destroyed by a slash in her abdomen where her reproductive organs would be.

The play ends with Victor pursuing the Monster across the increasingly barren wilderness, reinforcing the loneliness and isolation both are now consumed by – both long for, yet dread, the death of the other, and so themselves. Their fates are joined, neither can live after their crimes against nature and society, and they have only each other, mutual hate now a proxy for the love of a traditional family relationship. If there is a death, it occurs, as in ancient drama, offstage, but the action can only end one way – mutual destruction.

This is a stunning production that provokes and encourages thought about issues of parental and scientific responsibility as well as the nature of man, sin and loneliness, in interesting, intertextual dialogue with the novel upon which it is based – Miller is wonderful, and the ticket fee is justified by Cumberbatch’s performance alone. I look forward to seeing the National Theatre Live screening in the reverse casting.

http://www.cultbox.co.uk/features/poll-results/493-doctor-who-top-6-tear-jerking-moments

And here’s the first installment of what will be a fortnightly column on the joys (aha) of life as a Fresher:

http://thesirenswansea.wordpress.com/2011/02/22/diary-of-a-fresher-no-place-like-home/

There are few institutions I love more than the BBC. To me, it’s like the Post Office, or the NHS – it’s one of the last figureheads of the right kind of Britishness – not in a weird, nationalistic way, but in a lovely, inclusive way. The modern BBC is as much about inclusion and modern, diverse Britain as it is about Horrible Histories and cups of tea. It’s beautiful, it’s synonymous with quality in my mind – almost everything I love comes from them, summed up perfectly by the incomparable Mitch Benn in his fantastic song ‘Proud of the BBC’ – linked below in the references. But issues of personal taste in programming aside, the BBC is superb.

Politically neutral in a way no other channel is, the BBC, rather like HMCS, serves Britain rather than its Government. And not enough people understand its value. The British Broadcasting Corporation is just that – British. By paying the license fee, we opt in to a society, a club based around creating a staggering range of programming. Which is why when we’re displeased with it – for example after the competition-fixing or presenter’s wages scandals of the last few years, it is our right to complain. And complain we do: but we must remember how much we’d miss the BBC if it went away – how much we’d miss no adverts, quality journalism, fantastic online content, educational material that is second to none… how much we’d miss having the right to a say in the programmes we pay for. Because without a BBC, television would not be as it is today – for all of us, by all of us.

Maybe it’s this inherently socialist streak, this co-operative nature, that makes the Conservatives quite so afraid of, and hateful towards, the BBC. Maybe it’s the fact that they can’t control what it broadcasts, or the fact that it’s neutral. I don’t know, I can’t understand being in opposition to such a fantastic service – I obviously fail, on a daily basis, to be as neutral as the system I’m writing in defence of.  But Conservative influence on the BBC can only be harmful. And that it why the suggestion of our shadow culture secretary Ivan Lewis, that the next chairman of the BBC should be chosen independently, rather than traditionally – by the Queen at the advice of ministers – makes a great deal of sense. In Mr Lewis’ own words, “It is essential the new chairman of the BBC Trust is a strong voice for the licence fee payer and totally committed to protecting the BBC’s independence”.

It’s not perfect. But more than anything else, it is ours. It is us. And we must protect it.

References:

http://www.mitchbenn.com/

http://www.guardian.co.uk/media/2010/dec/29/bbc-trust-chair-must-be-independent?CMP=twt_fd

http://www.guardian.co.uk/media/2010/dec/29/ivan-lewis-letter-jeremy-hunt-bbc-trust

Everything about it is acceptable. The casting is interesting – Stephen Mangan would not have crossed my mind for the role, but, at least physically, does fit his role well, even if in some scenes a slightly more charismatic actor would have added a certain something, making the intended quirkiness a bit more believable (although I feel I’ve made a mistake many people will, unintentionally and unfairly comparing Mangan to the two other portrayals of quirky, unusual British characters that have dominated television this year – Matt Smith’s Doctor and Benedict Cumberbatch’s Sherlock).

It is in this accidental comparison, really, that my only problem with Dirk Gently lies: compared to other programmes of its ilk, it is unremarkable. I do fear that I’m sounding too harsh, because I did genuinely like the show; the story is fine, if the ending is slightly rushed, the humour is lovely, with some really funny one-liners cropping up understatedly – and in this case at least, understated works. Jokes creep up on you and elicit a wry smile rather than a full chuckle, but the show is extremely quotable. An example: “As any Irishman will tell you, when things start exploding it’s best to avoid the police at all costs”.

Stylistically as well, from the set-dressing to the costume choices, the tone is perfect. And, it must be said, Dirk Gently is a great deal more original than much of the fare on offer at the minute. If a full series is commissioned, I will be watching, as will, no doubt, a large portion of this first episode’s audience.

In the end, not all performances can spark with as much life as, say, Matt Smith’s. Not all programmes can be as devastatingly clever and tightly written as Sherlock. And wouldn’t life be exhausting if they were? Sometimes, it is perfectly fine for television to be what Dirk Gently ultimately is: simply warm, and mild, and calming. Like a cup of tea.