Watching Season 7 of The Good Wife is a little like keeping track of a tennis match — back, forth, back, forth, back, forth — except there are 17 players in the mix, the ball is on fire and the chair umpire is firing a rifle toward a random spot on the court every 30 seconds.
RelatedThe Good Wife Mystery: Is Cary Gay?
For argument’s sake, you could say Alicia is Serena Williams and Eli is Roger Federer — they’re sometimes down, though never, ever out — but there’s no guarantee some upstart won’t come along and bump out one or both...
RelatedThe Good Wife Mystery: Is Cary Gay?
For argument’s sake, you could say Alicia is Serena Williams and Eli is Roger Federer — they’re sometimes down, though never, ever out — but there’s no guarantee some upstart won’t come along and bump out one or both...
- 10/19/2015
- TVLine.com
Powerful stage and screen actor often cast as an aristocrat, king or moustachioed villain
When the whisky flowed, according to the writer John Heilpern, the actor Nigel Davenport looked "as if he might knock you through the wall for sport". However, words such as "imposing" and "heavyweight", both often applied to his performances on stage and screen across more than 40 years, do not do sufficient justice to his lightness of touch and comic energy.
Davenport, who has died aged 85, was a founder member of the English Stage Company (Esc) at the Royal Court – in the first season, he was in every production except Look Back in Anger – and a distinguished president of Equity, the actors' union; he played leads in Restoration comedy and absurdist drama as well as King Lear.
In a recent rerun of the BBC's Keeping Up Appearances, he loomed as a lubricious old navy commodore coming on...
When the whisky flowed, according to the writer John Heilpern, the actor Nigel Davenport looked "as if he might knock you through the wall for sport". However, words such as "imposing" and "heavyweight", both often applied to his performances on stage and screen across more than 40 years, do not do sufficient justice to his lightness of touch and comic energy.
Davenport, who has died aged 85, was a founder member of the English Stage Company (Esc) at the Royal Court – in the first season, he was in every production except Look Back in Anger – and a distinguished president of Equity, the actors' union; he played leads in Restoration comedy and absurdist drama as well as King Lear.
In a recent rerun of the BBC's Keeping Up Appearances, he loomed as a lubricious old navy commodore coming on...
- 10/30/2013
- by Michael Coveney
- The Guardian - Film News
With British theatre looking backwards, even the one new play that almost everyone enjoyed was a skilful reworking of an 18th-century classic
The British theatre is living off its past. Just think of the plays that left a strong impression in 2011: Caryl Churchill's Top Girls (1982), Harold Pinter's Betrayal (1978), Edward Bond's Saved (1965), Arnold Wesker's The Kitchen (1959) and his Chicken Soup With Barley (1958), and Terence Rattigan's Flare Path (1942). Even the one new play that almost everyone enjoyed, Richard Bean's One Man, Two Guvnors, was a skilful reworking of an 18th-century classic.
I admired Mike Bartlett's 13 at the National and Alan Ayckbourn's Neighbourhood Watch in Scarborough for their ability, in very different ways, to reflect the tenor of the times. Two other old hands, David Hare with South Downs and David Edgar with Written on the Heart, turned in highly accomplished pieces. But, even...
The British theatre is living off its past. Just think of the plays that left a strong impression in 2011: Caryl Churchill's Top Girls (1982), Harold Pinter's Betrayal (1978), Edward Bond's Saved (1965), Arnold Wesker's The Kitchen (1959) and his Chicken Soup With Barley (1958), and Terence Rattigan's Flare Path (1942). Even the one new play that almost everyone enjoyed, Richard Bean's One Man, Two Guvnors, was a skilful reworking of an 18th-century classic.
I admired Mike Bartlett's 13 at the National and Alan Ayckbourn's Neighbourhood Watch in Scarborough for their ability, in very different ways, to reflect the tenor of the times. Two other old hands, David Hare with South Downs and David Edgar with Written on the Heart, turned in highly accomplished pieces. But, even...
- 12/5/2011
- by Michael Billington
- The Guardian - Film News
It’s a movie. It’s a play. It’s National Theatre Live, the 2-year-old film initiative that brings the best of the British boards from London’s National Theatre to international movie screens. Now, thanks to a partnership with Ncm Fathom, they’re adding 200 more U.S. sites, starting with today’s showing of the James Corden-led, rapturously reviewed (and possibly Broadway-bound) One Man, Two Guvnors. Then comes Arnold Wesker’s ’50s-set The Kitchen on Nov. 3, Trainspotting scribe John Hodge’s newest, The Collaborators (about an imagined meeting between Mikhail Bulgakov and Joseph Stalin) on Dec. 1, and comedian...
- 10/20/2011
- by Aubry D'Arminio
- EW.com - PopWatch
St Katharine Docks; Theatre Royal, Haymarket; Olivier, National Theatre; Southwark Playhouse, all London
Figures are pressed against a long pane of glass. They are spread-eagled, as if blown there by a huge wind, and aghast. In a restaurant a trio of widows meet on their shared anniversary, to tell the story of their year: one is eager to uphold the tradition, the others impatient to move on. A Muslim shopkeeper is visited by a well-heeled regular customer: she chucks a brick through his window.
In Decade, Rupert Goold has drawn on 20 writers to provide scenes about 9/11 and its legacy, and made an uneven but absorbing evening. His first good decision is to tackle the scepticism which most people will feel at the idea of making a catastrophe into a theatrical event. Miriam Buether's design puts the audience in the Windows on the World restaurant at the World Trade Centre, with...
Figures are pressed against a long pane of glass. They are spread-eagled, as if blown there by a huge wind, and aghast. In a restaurant a trio of widows meet on their shared anniversary, to tell the story of their year: one is eager to uphold the tradition, the others impatient to move on. A Muslim shopkeeper is visited by a well-heeled regular customer: she chucks a brick through his window.
In Decade, Rupert Goold has drawn on 20 writers to provide scenes about 9/11 and its legacy, and made an uneven but absorbing evening. His first good decision is to tackle the scepticism which most people will feel at the idea of making a catastrophe into a theatrical event. Miriam Buether's design puts the audience in the Windows on the World restaurant at the World Trade Centre, with...
- 9/10/2011
- by Susannah Clapp
- The Guardian - Film News
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