Masterpiece Classic 2010 Schedule

Oh happy day. :) The Masterpiece Classic schedule was released today, and all things considered I have to say I'm quite pleased and excited by the line up. Take a look:

December 20, 2009-January 3, 2010, 9pm
Cranford (Encore Presentation)
Three episodes (Episode one 120 minutes; episode two 60 minutes; episode three 120 minutes)
The Emmy-nominated drama about a small English village in 1842 on the brink of change — where some find romance and opportunity, and others fear the breakdown of social order.

January 10-17, 2010, 9pm
Return to Cranford
(Two 90-minute episodes)
The construction of a new railroad line is at once thrilling and threatening to the residents of Cranford. This sequel stars Judi Dench, Imelda Staunton and Julia McKenzie. New faces include Jonathan Pryce and Tim Curry.

January 24-February 7, 2010, 9pm
Emma
Three episodes (Episode one 120 minutes; episodes two and three 60 minutes)
A new adaptation of Jane Austen's comic tale of a headstrong young woman's failed matchmaking schemes. Starring Romola Garai, Michael Gambon and Jonny Lee Miller.

February 14, 2010, 9pm
Northanger Abbey (Encore Presentation)
One 90-minute episode
In a medieval house that appeals to her most lurid fantasies, romance addict Catherine Moreland (Felicity Jones) begins a relationship with the younger son of the estate in this adaptation of the Jane Austen novel.

February 21, 2010, 9pm
Persuasion (Encore Presentation)
One 90-minute episode
Sally Hawkins plays Jane Austen's Anne Elliot, a woman destined for spinsterhood after refusing a proposal eight years earlier. Then her spurned suitor reappears.

February 28, 2010, 9pm
The 39 Steps
One 90-minute episodeSecret agent Richard Hannay battles German spies on the eve of World War I in a riveting and romantic new version of the thriller by John Buchan. Rupert-Penry Jones (Persuasion) stars as Hannay.

March 28, 2010, 9pm
Sharpe's Challenge
One 120-minute episode
Soldier-adventurer Richard Sharpe comes out of retirement to quash a rebellion in British India. Sean Bean returns as the swashbuckling hero of this series based on Bernard Cornwell's novels. Top Chef's Padma Lakshmi guest stars.

April 4, 2010, 9pm
Sharpe's Peril
One 120-minute episode
The adventures of Colonel Richard Sharpe continue as he leads a ragtag party of civilians and soldiers on a march across India, with the murderous army of an opium lord in hot pursuit.

April 11, 2010, 9pm
The Diary of Anne Frank
One 120-minute episode
The most accurate adaptation of Anne Frank's account of hiding from the Nazis stars newcomer Ellie Kendrick as the maturing teenager undergoing an extraordinary ordeal. The Diary of Anne Frank airs on Holocaust Remembrance Day, 2010.

April 18-25, 2010, 9pm
Small Island
Two 90-minute episodes
When an ambitious Jamaican woman moves to gritty post-war London, she finds that the "Mother Country" is not the land of opportunity she had imagined. Starring Naomie Harries, Ruth Wilson and Benedict Cumberbatch.

You can watch a short preview of the new season here.

I realize I've already mentioned once or twice (HA!) that I'm looking forward to Return to Cranford and the new Emma (seriously, can not WAIT to see Jonny Lee Miller as Mr. Knightley!). If you've never seen the first Cranford miniseries, be sure to take advantage of the encore presentation in a few weeks if it airs in your market.

I could've lived without the other Jane Austen encores, because 1) I have the DVDs and 2) I have an insatiable hunger for new British programs, but if you've never seen them they're definitely worth checking out. On the other hand, I'm positively thrilled at the inclusion of two World War II-era programs. I'm REALLY looking forward to checking out the new version of The 39 Steps starring the yummy Rupert Penry-Jones (if you've never seen the classic Alfred Hitchcock film version of this story, I have to recommend it as well - though my guess is TCM will probably schedule a showing around the time this new version debuts on PBS), and I vaguely recall hearing some pretty good things about the new version of the Anne Frank story. The Sharpe movies can be diverting, but frankly this is like Sean Bean's 500 millionth turn as Sharpe and he (and the series) is getting a little long in the tooth IMO. But whatever, like I said, will most likely be entertaining in some respect, if only to try and spot other British talent in guest star spots. However, I've got to end by saying I'm really looking forward to the final program of the season, Small Island. I read a bit about it a couple of months ago at the BBC press office, and the story sounds fascinating, and you can't beat the cast - Benedict Cumberbatch, Ruth Wilson, and Naomie Harris.

All in all, this is a season not to be missed, and you can be sure that it will be well blogged about here. :)

Review: White Christmas, the musical

I originally reviewed this cast album in December 2006, prior to seeing the show on stage the following year. If you ever get the chance to see White Christmas on stage, I highly recommend it - it's a wonderful experience.


Irving Berlin’s White Christmas is one of the best musicals ever made – make that one of the best movies ever made. I absolutely adore it. This CD is the soundtrack to the stage version of the film. I so want to see this show. If the music is any indication, the show is an absolute blast. It’s chock-full of the classic Irving Berlin songs from the movie, with the addition of other Berlin classics such as “Happy Holiday,” “Blue Skies,” “How Deep Is the Ocean,” and “I’ve Got My Love to Keep Me Warm." The arrangements positively hum with energy – the music has a full, big-band flavor. And the principal vocalists, led by Brian d'Arcy James and Jeffrey Denman, are terrific – they don’t try to imitate their filmic predecessors Bing Crosby, Danny Kaye, Rosemary Clooney, and Vera-Ellen. If they had, that would’ve equaled disaster. What makes this album work is that you are given top-notch Broadway singers performing timeless Berlin tunes with life and energy. They’re not trying to present a carbon copy of the film onstage – the show is more of a love letter to the film, if you will. The story's been tweaked, some of the movie's songs eliminated ("Choreography" is no great loss IMO) or rearranged, but the nostalgic heart of the film's story is vibrantly present. Check out the show's website at WhiteChristmasTheMusical.com.

Robin Hood 3.11: The Enemy of My Enemy

Spoilers...

"The Enemy of My Enemy" is the beginning of the end for Robin Hood - only two episodes left after this, SOB!! There was a lot to like about this episode, starting and ending with the fact that Guy (Richard Armitage) is front and center. If the showrunners would have learned that lesson a long time ago, maybe the show would've survived cancellation...just sayin'. *sigh* Anyway, the show opens with Guy and Robin, together again, haha. I loved all of the scenes that show them working through the kinks in their new "partnership." You of course start out with a knock down, drag out fight, which leads to lots of sarcasm and hilarious quips flying back and forth. My favorite moment of the first phase (LOL) in their partnership is when Guy exclaims that he can never ask Robin's (Jonas Armstrong) forgiveness for killing Marian because he can never forgive himself. I confess, I swooned. ;-) That moment was superb & very much longed for.

We get to see a little more of the gang in this episode, sadly though most of those moments are either annoying or forgettable. Of course Kate (Joanne Froggatt) is so head over heels in love with Robin that she'll put up with Guy. But Little John (Gordon Kennedy) throws some sort of childish hissy fit when Robin brings Guy back to the gang's hideout, claiming he now trusts him. Seriously, what is it with Little John and acting like a stupid fool? VERY annoying. However, this did lead to a nice moment for Allan (Joe Armstrong), FINALLY, who's been criminally under-used this season. Allan had such a great story arc last season it's been extremely disappointing to see how they didn't do anything with his character this year, especially since the show's ended. However, it was nice to see him go after Little John and help him escape Sheriff Isabella's (Lara Pulver). Instead of the overused battle cry of "We are Robin Hood" this episode brought out the family side of the gang - a bit sappy but nice to see nonetheless.

So Robin and Guy's brother, Archer (Clive Standen) is a bit of a rake and a ladies' man, who apparently all of a sudden has knowledge of "powerful weapons from the East." That was a little lame, but whatever. The point here is that Archer is Errol Flynn reincarnated, and I'm now in luv with Clive Standen. The way he talks, the inflection of his voice, the gleam in his eye - it's Errol Flynn all over again, and in my little world that's a very good thing. :) If you've never seen The Sea Hawk or Captain Blood, check them out immediately - I could see Standen easily playing those roles. It's interesting to see, just in this introduction, how the Archer character is a sort of mash-up of Robin and Guy. He definitely has a LONG way to go in the self-sacrificing/altruism department, but I have no doubt that if the show had continued he would have come around, in the best Errol Flynn hero tradition. (Incidentally, I just realized that Standen appeared in 3 episodes of season 4 of Doctor Who.)

Guy and Robin have decided that Archer's mysterious weapons knowledge is necessary for them to defeat Isabella (who BARELY has a handle on this whole sheriffing thing), so they head to York to spring their errant brother from prison. I LOVED the little "planning" session they had in the pub, that was hilarious. They sort of trust each other, but they still have to fight over who's half-baked plan is the better option for freeing Archer. Boys, boys, boys. ;-) When Guy is the one who gets hauled off to jail to play the "inside man," the look on his face was priceless. As always Richard Armitage played Guy's scenes beautifully. He's got a long way to go but he's finally, FINALLY, acting more like the hero all of us Guy fans have been wanting to see since the beginning of the show.

Since Archer grew up dirt poor, he's developed this "must have money" fixation, which leads to a poorly thought out attempt to betray Guy and Robin even though they're the ones who just rescued him. Silly boy. He's foolishness only leads to all three brothers waiting to be hung, but of course by this time the gang has arrived in York setting up a big final showdown. I absolutely LOVED the "money shot" moment - when Robin and Archer set up arrows at the same time to break Guy's rope and free him, and the arrows hit the exact same mark. The look on Robin's face was priceless, absolutely hilarious to see. Archer, of course, is going to more than live up to his name. It also really warmed my heart to see Guy stepping up to rescue Little John from certain death and destruction. Beneath that black exterior beats a heart of gold. I always knew this but I suppose it's to be expected that Little John would be a little slow on the uptake. *sigh*

Part one of the two-part series finale airs tonight.

Review: Winter Tracks by Susan Egan

Since the Christmas season is "officially" upon us (though I confess I've been living with Christmas for two weeks now, ha!), and since this is my first Christmas on Blogger, I thought I'd pull the few Christmas music reviews I've done over the years and start posting them here. I originally reviewed Winter Tracks in December 2006.


As the title of this CD suggests, it isn’t a Christmas album per se – the songs included cover Thanksgiving, Christmas, Hanukkah, and New Year’s. Egan first skyrocketed to fame as the original Belle when Disney’s Beauty and the Beast opened on Broadway (she appears on the cast album). Her soprano is so crystal-clear and controlled it sounds as though it could cut glass. With Winter Tracks, Egan has delivered a laid-back collection of classics mixed with new material that evokes the warmth and comfort of the season like drinking a cup of hot cocoa on a cold winter’s day. The arrangements have a classic, orchestral feel to them and perfectly frame Egan’s sparkling vocals. My favorite tracks are Sondheim’s “We Are Lights” combined with the traditional “Shalom Alaychem” (absolutely beautifully done!) and “Silent Night/Greensleeves.” The newer tracks blend nicely with the more traditional fare – “The Turkey and the Stuffing” by producer Christopher McGovern gently skewers the stress the holidays can bring by suggesting a worry-free alternative – “Swansons and a six-pack,” while “Cold Enough to Snow” examines heartache around the holidays. Definitely worth checking out, Winter Tracks is one of the best offerings from a Broadway vocalist in recent memory.

Robin Hood 3.10: Bad Blood

Spoilers...

Weeelllll, this was an interesting episode of Robin Hood. As the title implies, "Bad Blood" delves into Robin (Jonas Armstrong) and Guy's (Richard Armitage) complicated past. Let me get the best point of this storyline out of the way first - Guy and Robin are together at last, and they are the only members of the regular cast to appear in this episode. Hip, hip, hooray! Now let me get out a major gripe...after two and a half years of watching this show, all of a sudden Robin and Guy HAVE a past? They grew up together?! WHAT THE HECK?? Robin and Isabella never even let on that they previously knew each other at earlier in this season. Talk about pathetic storyboarding. This really drives home the biggest problem with the show this season - lack of focus. The Black Knights storyline in season 2 really gave the entire season focus and purpose, and the results were glorious. *sigh* I'm apt to get all choked up remembering the good ol' days... ;-)

Apparently Robin's widower father Malcolm, played by Dean Lennox Kelly, and Guy's thought-to-be widowed mother Ghislaine, played by Sophie Winkleman, started having an affair resulting in a pregnancy (more on that later). Kelly is a very familiar face to obsessive viewers of British TV like myself. :) He's appeared as Puck in ShakespeaRe-Told, Shakespeare in a Doctor Who episode, Cranford series 1, Being Human, and most recently in the fantastic Collision. Sophie Winkleman looked very familiar but she's only played in a handful of projects that I recognized: the "Five Little Pigs" Poirot episode, an episode of Inspector Lewis, and as the older Susan at the very end of the first Narnia film. I didn't recognize Guy's father at all so he's not worth talking about. LOL!

However, the return of Guy's father from the Crusades throws a crimp into Malcom & Ghislaine's plans, especially since he returns infected with leprosy and cannot possibly cover for the birth of their illegitimate child. And now to talk about this kid for a second...I know the show's already been canceled and all, but I cannot believe this is the direction the showrunners chose to go after the announcement at the end of season 2 that Jonas Armstrong was leaving the show. This would've been a PERFECT opportunity to turn Guy into the hero all of us Richard Armitage fans know he could've been. It would've been fantastic, a freaking dream come true. But NOOOOO, we to go the route of creating a third random person, mashing up the best qualities of Armstrong and Armitage (it's arguable that that's even possible, but whatever...LOL!). And to add insult to injury, this random Robin/Guy sibling is named ARCHER. That has to be some of the worst telegraphing EVER. *sigh*

It was marginally intersting to see youngish versions of Robin and Guy. However, what was with the selective recreation of their childhoods? Where were kid versions of Marian and Will? Why wasn't Little John living in the village in his pre-outlaw days? That's too much to ask for, obviously. *sigh again* Kid Robin was a jerk, it is easy to see where his need for a hero complex comes from. And kid Guy was quite a brooder back in the day, wasn't he? No shocker but I had much more sympathy for Guy's tortured past than Robin's, LOL! ;-)

So the episode ends with Robin and Guy going off to rescue their previously unknown brother. Oh, before I forget - the whole Robin's dead father suddenly reappearing thing - and the whole leprosy angle in general - that type of storyline just felt wasted. It's been done better before but what can I expect when the writers just decide to spring this kind of thing on the viewers? *sigh for the millionth time* The best thing about this episode was seeing Robin and Guy come to terms with each other and unite with a common purpose. That's been a long time coming, hasn't it?

Collision

The 2009 Masterpiece Contemporary season is now over, and I thought I'd be taking a pass on the entire schedule...but then I was reminded that Collision starred Douglas Henshall (the dearly departed Cutter on Primeval), so of course I had to watch. :) I am SO glad I did. This program was a real treat, full of intricate plot twists and fascinating characters. When I looked up the show on the IMDB, I was even more thrilled to discover it was scripted by Anthony Horowitz. In case you've never heard of Horowitz, let me tell you, for what it's worth I think he's some sort of freaking genius. It's my understanding that any book he releases is guaranteed to be a huge bestseller in England (you can check out his work on his website here - books, film, television, & theater credits!). The primary reason I love Horowitz though is because he created the absolutely fantastic, perfect, wonderful mystery series Foyle's War. I love, love, love that show and should write more about it in the future. Just warning ya. :)

So anyway, back to Collision. I'm not going to do my usual critique/spoiler-fest that normally accompanies any post I write about yet another British show I love and adore. ;-) Shocking, I know. But I really think this program is such a wonderful surprise, such an intelligent drama, that I would wish any new viewers to the story to enjoy the surprises as they unfold. Here's the brief story summary from the PBS website, just to whet your appetites:

Point of impact — Friday afternoon on England's busy A12 highway. Six cars collide in a terrible spectacle leaving two dead. Detective Inspector John Tolin (Douglas Henshall, Primeval) is called in to clean up, and quiet the cries of racism coming from the family of one of the victims. But a methodical investigation only scratches the surface of the ten strangers involved, and the surprising and touching ways they are transformed after the accident. Senior Investigating Officer Ann Stallwood (Kate Ashfield, Poirot), herself entangled with Tolin, joins the inquiry as allegations of corporate crime, infidelity, shameful secrets and murder slowly rise from the wreckage. Written by Anthony Horowitz (Foyle's War) and Michael A. Walker, Collision investigates human nature, fate and the intriguing ways the truths of our lives are revealed.

This show is a veritable who's who of British acting talent, so without giving too much away I do want to give a couple of casting shout-outs:

• Douglas Henshall (DI John Tolin) - This show was a really, really smart move - showed a completely different side of his personality than the one I came to love on Primeval. And check out his dorky "everyman" hair - adorable. :)
• David Bamber (Sidney Norris) - When isn't it fun to see Mr. Collins (from the 1995 version) make another appearance on TV?
• Lucy Griffiths - Also known as Maid Marian from Robin Hood. (Moment of silence for the dearly departed, please!) Since season 2 of RH has turned out to be the show's creative high-water mark, I no longer think Lucy was completely nuts for wanting to leave the show to pursue other projects. In fact, crazy blonde hair dye job nothwithstanding, I think it's brilliant she got to play in Collision because she got to star opposite...
• Paul McGann - I freaking love Paul McGann. We go WAAAAYYYY back, starting with his appearance as Lt. Bush in the Hornblower films (still bitter about how that series ended, A&E!). His voice will just make you melt, I kid you not. And while his character is not as admirable as one could wish for, dang it the man has never looked better. Wowzers. *swoons* It was SO nice to see Paul in a major project that actually got the chance to air in the US. Made me positively nostalgic for the ol' Hornblower days... ;-)

Sorry, didn't meant to get carried away there. ;-) Those four actors are just a small sampling of the faces I recognized in the cast. The show is a true ensemble piece, superbly scripted and executed. This is a story that will leave you thinking about the ripple effect our lives have on each other, and how the smallest actions - or inactions - can have enormous consequences. It's a fascinating program. The DVD releases December 15th.

Here's a short video interviewing some members of the cast:

Guy video

In the comments section of my post on Robin Hood season 3, episode 9, new friend of the blog Maria (from Fly High) shared a link to a Guy video she'd compiled, which puts together Richard Armitage's best moments from that episode. I thought I'd share it here:



*swoon* Proving that 10 minutes of Guy footage are worth more than 10 hours of everybody else on that crazy little show. :)

Review: Me and Orson Welles by Robert Kaplow

Me and Orson Welles
By: Robert Kaplow
Publisher: Penguin
ISBN: 978-0-14-303522-0

About the book:

“This is the story of one week in my life. I was seventeen. It was the week I slept in Orson Welles’s pajamas. It was the week I fell in love. And it was the week I changed my middle name – twice.”

With this beginning, Robert Kaplow sweeps readers into a breakneck romantic farce that reads like a Who’s Who of the classic American theater. At center stage is the twenty-two year old Orson Welles, about to launch his debut production of Julius Caesar. Enter Richard Samuels, an achingly sincere teenager who literally walks into his first acting job. What he finds is a whirlwind of comedy and pathos, self-absorbed celebrities and their outsized egos, art and love. Me and Orson Welles is a joy.

Review:

When I saw the trailer for the upcoming film Me and Orson Welles, I knew I had to read the book on which the movie is based. The story looked tailor-made to cater to my tastes – the clothes, the music, the theater of the time period, I love it all. With the book, Robert Kaplow has crafted a witty and insightful coming-of-age story that doubles as one of the best love letters to a bygone age that you could wish for. (Just a heads up, there is some off-color language in this book – I would’ve preferred a less, but if you can get past that the story is that the story is terrific!) In the late 1930s, America was in a depression with no thought of the war to come, and master songsmiths like Irving Berlin and Cole Porter were making their contributions to what would become known as the Great American Songbook. It was a “golden age,” when American films featured stars like Gary Cooper and Cary Grant, and the theater was peopled by the likes of the Barrymores and young Orson Welles.

Into this glittering theatrical world, seventeen-year-old Richard Samuels literally stumbles upon his first acting job – a bit part in Welles’s fledgling Mercury Theatre production of Julius Caesar. Full of big dreams and hopelessly idealistic, Richard has no idea what he’s gotten into when he joins the production and finds himself in Orson Welles’s starry orbit. Welles is a star on the rise and he knows it. The man is a pompous jerk but the allure of his genius is irresistibly strong and undeniable. In one short week, Richard probably learns more about life, love, and his own purpose and self-worth than many people do in an entire lifetime.

Richard’s voice just shines and makes this novel a joy to read. He’s worldly-wise yet naïve, sarcastic yet sweet – in other words, a typical teenager made up of all the confusion and contradictions that accompany that time of one’s life. Kaplow also excels at building his setting – he absolutely nails NYC. The city itself is as much of a character as Richard or Welles, and reading the descriptive passages in the novel made the sights, sounds, and smells of the city come alive. This book is also one of the best mash-ups of fiction and historical fact that I’ve ever come across. I’m a huge classic film fan, so reading about Orson Welles’s theatrical beginnings, or learning that actor Joseph Cotten was a member of the Mercury Theatre troupe, were absolutely fascinating. While I could never claim to be a Wellesian scholar, based on my perception of Orson Welles’s character from his films that I’ve seen, Kaplow has done an excellent job of capturing the essence of the man. Every time Welles spoke on the page, it was his unmistakable voice that I heard in my head while reading.

If you’ve seen the television show Slings & Arrows, Me and Orson Welles comes as close as you could wish to capturing the humor, angst, and life found in the theater. Me and Orson Welles is a breezy, insightful, laugh-out-loud funny love letter to a golden age in American entertainment.

Here's the movie trailer:



I cannot WAIT to see this movie!! The last time I checked it opens in NY and LA over Thanksgiving, and then wide release December 11th. I just hope those dates don't change (unless they move the wide release opening up...I would totally go for that). ;-)