Theatre review: The Human Body

Plays can take a while to go through development and writing and get to production, often ending up with similar ideas making it to the stage at the same time. I wonder if it was the sound of people banging pots and pans every Thursday night four years ago that now gives us a batch of plays about the founding of the National Health Service? I didn't have any particular preconceptions about how Lucy Kirkwood would take on the subject, but it certainly wouldn’t have been something quite as camp as the Donald and Margot Warehouse's The Human Body turns out to be, filtering the birth of the NHS through Brief Encounter. It's 1948 and Dr Iris Elcock (Keeley Hawes) juggles being a GP with being a local Councillor, prospective MP in an upcoming by-election, and right hand woman to a Labour MP (Siobhán Redmond.) She's also a wife and mother, although despite her reassurances to the press that she's also the perfect housewife this is a role she's less of a natural in.

Stage-to-screen review: Richard III (BBC Hollow Crown)

What do BBC budget cuts look like? Geoffrey Streatfeild with some muesli on his face to show that Edward IV is poorly, that's what they look like.

It's been tempting throughout this second series of The Hollow Crown to see adaptors Ben Power and Dominic Cooke as using the re-cut Henry VI Part 1 and especially Part 2 as warm-up for the main event of The Hollow Crown: The Wars of the Roses - Richard III, whether because of  Brobdingnag Arafat being cast in the title role or simply because it's always been the most popular play in the tetralogy. And while there's been some strong moments along the way to belie the fact that these are Cooke's first foray into directing for the screen, there's no denying that he's saved the flourish for the finale. With the exception of the climactic Battle of Bosworth Field, there's not so many wide open spaces as before, instead the "bottled spider" gets to work in claustrophobic rooms with a lot of blue filters (so blue at one point it looks like Barry Chuckle is wearing electric blue nail polish.)

Theatre review: Barking in Essex

How funny is the idea of Sheila Hancock saying "cunt?" Barking in Essex is confident that it will stay funny for a little over two hours. Spoiler alert: It doesn't. It's not often a new play opens directly in the West End, and this one is new in the sense of "new to the stage" as opposed to "newly written" - unless Clive Exton was such a workaholic that his death six years ago didn't slow him down. An opening scene that revolves around jokes about Who Wants To Be A Millionaire and the long-since cancelled Weakest Link is a reminder that there wasn't a huge rush to bring this one to the stage. Was it a lost gem just waiting for the right cast to become available? Or was it gathering dust until the popularity of The Only Way Is Essex made producers sniff cash in anything with the county's name in the title? Well, I haven't exactly been subtle in my introduction, clearly it's going to be the latter.