Science and Technical Research and Development. Kiss Me, Kate came at the end of a difficult decade for Cole Porter, in which he has struggled to replicate the success he had enjoyed in the 1930s with shows like The Gay Divorce and Anything Goes. His decision to base a musical around a production of Shakespeare’s The Taming of the Shrew was unexpected, to say the least, but ultimately vindicated – spanning over 1,000 performances in its initial run, the show because Porter’s longest-running hit. (The domestic violence in Shakespeare’s play requires a slight suspension of feminist anger if it is to be enjoyed.) The Shakespearean “play within a play” elements ask a lot of the show’s principals, who alongside the fast-paced dialogue and vocal agility must give convincing performances in the Shrew sequences. In this production, the principals managed this admirably. Broadway stalwart Ben Davis was suitably arrogant and unctuous as leading man Fred Graham/Petruchio, while Tony Yazbeck made an elegant, raffish Bill Calhoun and Lucentio, his virtuosic tap-dancing a joy to watch. These two were outshone, though, by the women. Louise Dearman’s Lois Lane/Bianca was completely captivating, and her rendition of “Always True to You in My Fashion”, complete with audience interaction and jaunty winks, was one of the highlights of the show.Īlexandra Silber (left), leading the cast as Lilli Vanessi/Katherine, was the stand-out of the evening, though. Critically acclaimed for her recent performance as Maria in the San Francisco Symphony’s West Side Story, Silber brought a similar range and passion to this part. Her “I Hate Men” had the audience gasping and applauding by turns, her “So In Love” was tender and touching, and the way she threw flowerpots at Davis’s head was truly magnificent. The 1953 MGM film version sanitised some of Porter’s songs, but this was Kiss Me, Kate in all its glory. ET, Goonies, Close Encounters, Alien and everything Stephen King wrote between 19 are all tossed into the blender by Millennial writer-creators the Duffer brothers.Ī valentine to the Spielberg school of Eighties blockbuster, with Winona Ryder as a small-town mom whose son is abducted by a transdimensional monster. It was clear Stranger Things was going to be a mega-smash when Barb – the “best friend” character eaten in the second episode – went viral the weekend it dropped.
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Series three introduced Soviets tunnelling beneath Hawkins, Indiana and homages to Terminator and Fast Times at Ridgemont High.
Stranger Things was just getting started, though. Season four was the most popular yet as we saw the gang tangle with evil wizard Vecna. Such was its reach it introduced Gen Zers to Kate Bush (giving Bush her first US number one) and, with its Hellfire Club of Dungeons and Dragons players, made nerdy table-top gaming cool. The Duffers are currently at work on a fifth and final series.Īnimated sequel to Guillermo del Toro’s 2013 monsters v giant robots modern classic. The setting is a post-apocalyptic Australia, sealed off from the outside world and ruled by rampaging “Kaiju” – ie this universe’s answer to Godzilla.
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It’s a feat of bravura factual filmmaking from French documentarian Jean-Xavier de Lestrade, which comes to Netflix with a recently shot three-part coda catching up with the (very weird) Peterson clan a decade on.įeaturing Japanese-style anime art, we fellows siblings Hayley and Taylor as they look for their missing parents – and find more than they bargained for.ĭid he do it? Does it matter considering the lengths that the Durham, North Carolina police seemingly went to in order to stitch him up? Sitting through this twisting, turning documentary about the trial of Michael Peterson – charged with the murder in 2003 of his wife – the viewer may find themselves alternately empathising with and recoiling from the accused. It’s much better than the 2022 HBO dramatisation starring Colin Firth as Peterson.
The setting of this French show is a high-powered Parisian talent agency, where our heroes do their best to keep real-life stars happy (there are cameos by Charlotte Gainsbourg, Monica Bellucci, Sigourney Weaver and others), even as they walk the tightrope of their own complicated personal lives. An English-language remake on Prime Video missed the point entirely. The wry sitcom that has become everybody’s favourite escape hatch from real world events. Schitt’s Creek stars father and son Eugene and Daniel Levy, alongside Catherine O’Hara and Annie Murphy as a well-to-Canadian family forced to start over, in the eponymous no-horse town, when their millions vanish.
The humour is addictively wry, reeling you in gag by subtle gag.
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