Under the ABS challenge system, a team begins each game with two challenges. If a player gets an umpire's call overturned, their team retains the challenge. In effect, this means a team has unlimited challenges until they get two wrong.
Matthew Macfadyen started his career in a 1998 TV film adaptation of Wuthering Heights as Hareton Earnshaw, Heathcliff's whipped dog, and has been giving us brilliant incarnations of beta cucks ever since.
A big issue with how we understand Shakespeare and how we're introduced to it is we sit down and read it. But Shakespeare's plays, like any play, are meant to be heard, to be experienced.
Robles repeatedly steals the show - as the best Lady of the Lakes do - with precise comic timing and delivery, impressively and intentionally over-the-top vocal work (which would given even "Songbird Supreme" Mariah Carey a run for the money) and an ability to both spoof and embrace full-throttle divadom.
It's his sort-of coming out story imbued with the trauma of losing his mother Amy to ovarian cancer, told via a 2000-slide PowerPoint presentation and finished off with a genuinely impressive magic trick (Sharp was a childhood magician). On the subject of finishing, it's an abundance of sordid sex tales that fill the gaps between Sharp's god-fearing childhood in America's south, and his mother's crushing death in 2010.
If City Center Encores! was originally founded as a kind of musical-theater seance devoted to raising the dead, or at least the long-forgotten then High Spirits is about as literal a mission statement as you could ask for. The rarely revived 1964 musical opens with a seance and arrives at City Center like a theatrical ghost itself: long unseen, mostly forgotten, and faintly glowing with the promise of pleasures from another era. That alone makes High Spirits worth summoning.
For Monty Python fans, this stuff is ageless and forever witty. The show opens with an in-joke for true fans—a narrator announces that the show is set in medieval England, but then the lights come up on the ensemble doing a song about Finland, 'The Fisch Schlapping Song,' complete with prop fish and slapping, which is framed as a brief misunderstanding.
He would refer to his father as ce salaud bourgeois (that bourgeois arsehole) and he delighted in telling me the story of being thrown out of school aged eight because he punched the gymnastics teacher who was trying to instil discipline into young boys by turning them into military martinets. Of the professions and attitudes that merited his ire the military, the church, hypocrisy, sham, inauthenticity, politicians, academics and fascists collaborateurs had a special place in his heart.
London's critics are not unanimous in their praise (but that's nothing unusual). The Financial Times suggests the play occasionally gravitates into "cultural grumbling" when it tackles modern issues such as cancel culture and university politics, and argues that the material feels more reflective than razor-sharp satire. notes that while the humour "simmers gently," its plotting is uneven and its engagement with contemporary politics sometimes feels cursory rather than incisive.
Ever feel like a LOSER? Beaten down by capitalism, the housing crisis, and little hope of getting ahead? "brilliant, well-observed character comedy" - Stage Whispers (Australia) Meet one Aussie bloke who can relate... He's crass, chain-smokes, blows his paycheck on KFC and Marvel tatts and stumbles into knife fights. This is Big Mike - a wiry, heart-on-his-sleeve barista with big plans, good intentions and a magnetism for tragedy.
From Yes Minister co-writer Jonathan Lynn comes I'm Sorry, Prime Minister - the final act between Jim Hacker and Sir Humphrey. Jim Hacker (Griff Rhys Jones) is back - older, no wiser, and still gloriously out of his depth. Dreaming of a peaceful retirement at Hacker College, Oxford, Jim instead collides with a very modern nightmare: being cancelled by the college committee.
Readers who saw my previous post will recall its focus on a recurring pattern of laughter and humor found during my deep dive into the humor of the Seinfeld series. I wondered why we tend to laugh at various things going into our bodies and tried to explain why we might be so inclined using the Mutual Vulnerability Theory of Laughter.