Tag Archives: Catastrophe

Making his Mark

From Line of Duty and Home Fires to Apple Tree Yard and Unforgotten, actor Mark Bonnar is never far from television screens. He discusses his career, new projects including Porridge and working on Catastrophe.

Under the skills section of his CV, Scottish actor Mark Bonnar lists an unusual talent. “I can juggle,” the 48-year-old says while making coffee and checking the baby monitor to see if his son is settling down for his nap. Bonnar is married to fellow actor Lucy Gaskell (Cutting It, Casualty) and the couple have two children.

Multi-tasking is clearly not a problem for Bonnar. He’s been quite busy lately, appearing in Channel 4’s Bafta-winning sitcom Catastrophe, psychological thriller Apple Tree Yard (pictured top) and cop show New Blood on BBC1, and ITV crime drama Unforgotten. He’s also starred in Line of Duty and Psychoville (both BBC2), plus Grantchester and Home Fires (ITV).

Mark Bonnar (left) alongside Rob Delaney in Catastrophe

Bonnar also began shooting the new season of Shetland last month and has just spent seven weeks on a new six-part season of Porridge for BBC1, written by the show’s original creators Dick Clement and Ian La Frenais. The actor reprises the role of Officer Meekie from the pilot, which was screened last year, alongside Kevin Bishop as Nigel ‘Fletch’ Fletcher, grandson of Ronnie Barker’s iconic character Norman Stanley Fletcher.

“It’s a lot like the old rep routine where you make it up as you go along,” says Bonnar of filming Porridge. “Tuesday night and Wednesday we’d be rehearsing through, then doing tech for the cameras because it’s multi-camera, like the old live studio audience thing. Then we’d pre-record all the bits you can’t do in front of the audience, and then Thursday there’d usually be another light run.”

The Porridge pilot was a “terrifying experience,” he admits. “I haven’t been on stage for five years. The Old Vic was the last time. This was completely new to me and I wasn’t sure how to pitch it but I watched Kevin [Bishop] very closely and he’s a past master at this sort of thing. He started mucking around quite early on in front of the audience and they loved that.”

Coronation Street and Phoenix Nights star Ted Robbins was the warm up.

The actor portraying Officer Meekie in the new version of Porridge

“He really takes the audience through the story, because there are big gaps between the setups so they’ve got a lot to remember,” says Bonnar. “Ted’s got a gazillion jokes but also, before we start on the next scene, he’ll say, ‘Now, remember what’s just happened in the scene before?’ so they’re with us, and that’s invaluable.”

Porridge is up there with Dad’s Army as one of British TV’s national treasures and, in portraying Officer Meekie, Bonnar follows in the footsteps of the great Fulton Mackay.

The actor says the script and certain mannerisms of his character are done in tribute to Mackay. “It would be churlish to try to completely reinvent the character. The physical aspect of Meekie is the thing that probably informs the character. It’s not great naturalism. It’s heightened comedy.

“The first thing I did when I was in Fletcher’s cell was move like a flamingo or a bird of prey. The physicality informs me a lot. You kind of rely on that and work from the outside in. I haven’t gone away and thought about where he’s from or what his favourite colour is; that would be pointless. When you’re doing your lines, you stand up tall, because he is a tall character, and you move your head – it’s quite birdlike.”

When it comes to learning lines for TV drama, Bonnar has a distinctive approach. “I record the scene with gaps for my bits, that’s how I’ve always done it. If I haven’t got the time to record, I will learn the lines, but I like hearing everybody else’s words and my cues. It’s like having a rehearsal in your head every time.”

Bonnar in Jed Mercurio’s police drama Line of Duty

He recalls making his first ‘live’ recording at the age of 10. “My granddad had an old tape recorder and I went off to a room somewhere and recorded a radio show. It’s me doing all the ‘Hey, this is Mark Bonnar and welcome to my show’ rubbish, but I sang all the songs as well. There’s me singing Blondie and Ian Dury, and I thought, ‘Yes, I even had cool music taste back then.’”

Bonnar won a school prize for drama aged 12 in a show called Hooray for Hollywood. “It was a kind of a mishmash of songs and sketches. I remember donning a massive moustache for a scene from Murder in the Red Barn.”

He left school at 17 and worked for the library service and in the planning department at Edinburgh City Council, where colleagues persuaded him to pursue a career in drama. He completed a year’s National Certificate in drama at Telford College, followed by three years at Glasgow’s Royal Scottish Academy of Music and Drama. In his final year, he won the Carlton Hobbs BBC Radio Award, which gave him a six-month stint with BBC Radio in London.

“I did 50 plays – everything from playing the orangutan killer in Murders in the Rue Morgue to the mouse in Alice in Wonderland.

“I love radio. As a listener it’s the most imaginative form because it’s all in your head. As an actor you can just really concentrate on delivering the story right into someone’s ear.”

The Scottish actor also appeared in ITV crime drama Unforgotten

Bonnar has a long list of credits including everything from Rebus, Silent Witness and Taggart to Casualty, Midsomer Murders and The Bill. He says he rarely turned down a job in the first 10 years of his career.

“You do whatever comes really. I occasionally turned stuff down because I wanted to feel like I was progressing in each job. The only power you have as an actor is to say no and yes. I think I said no a lot less in the early days because I was hungry for work; now I’m still hungry for work but there has to be something that really makes me want to do it.

“I’ve played quite a few psychotics, people who are deranged or twisted, and I enjoyed that –they were the most fun to play. But if something comes my way, there has to be a new take or slant or something about the character that appeals, that hasn’t been done before or is shown in a new way or the story is amazing.

“Apple Tree Yard was another brilliant step in a new direction because I hadn’t played somebody like him before. [Protagonist Emily’s husband] Gary is a slow-build character. He’s undemonstrative, he’s kind of in here,” Bonnar says, pointing to his chest. “There’s no ‘tits and teeth.’ People usually give me tits-and-teeth parts but it was great to play someone I haven’t done before who isn’t vindictive, who hasn’t a nasty streak. He’s just a flawed human being, as we all are.”

Catastrophe stars and writers Rob Delaney and Sharon Horgan deal a lot with flawed humanity in their hit comedy, which recently aired its third series with a fourth planned.

Bonnar, who plays Chris, says it’s always “a joyous experience,” working on the show. “What [Horgan and Delaney] do is push everything to the degree where you go, ‘Oh Christ, I remember feeling like that.’ It’s so beautifully crafted, structurally but also dramatically. They’ve got an amazing talent and ability to make you cry and snort wine back into your glass at exactly the same time. The comedy and the familiarity of it, it’s perfectly human.

“There’s an atmosphere with Catastrophe of generous concentration because it’s a serious business getting it right. Rob and Sharon have said this and on set they’re quite prescriptive about what they write because what they write is brilliant and so they very rarely allow any improvisation. Now and again you can slip something in but you wouldn’t want to, it’s like gilding a lily.”

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Brits dominate Rose D’Or scripted

Mum
Big Talk Productions’ Mum aired on BBC2

The Rose D’Or Awards were dominated by the UK last year with wins in nine out of 11 available categories – and following this week’s release of the Rose D’Or shortlists for 2016, it looks like the UK stands an extremely good chance of repeating its success.

One thing is for sure, the UK will win both the sitcom and the newly created drama series categories. In sitcom, the three shows slugging it out are Episodes from Hat Trick Productions, Mum and Raised by Wolves, the latter two from Big Talk Productions.

In drama, the contest is between Happy Valley, River and This Is England ’90. The winners will be revealed in Berlin on September 13.

Looking first at the dramas, Happy Valley (written by Sally Wainwright) and This Is England ’90 (Shane Meadows/Jack Thorne) have already received plenty of plaudits. River, a six-part drama for the BBC, is probably the least-known of the three, despite being written by one of the UK’s top talents, Abi Morgan.

Having started out writing for theatre, Morgan’s earliest credits were in TV (Peak Practice, My Fragile Heart), but more recently she has moved effortlessly back and forth between film and TV. Her best-known films include Brick Lane, The Iron Lady and Suffragette, while stand-out TV credits include novel adaptation Birdsong, The Hour and River.

River
Six-part drama River earned positive critical notices in the UK press

Regardless of whether River triumphs in Berlin, Morgan certainly got the thumbs up from critics. In the UK, The Daily Telegraph critic Michael Hogan said the series was “beautifully written by Abi Morgan, stylishly directed and superbly acted. [Lead actor] Stellan Skarsgård delivered a powerhouse performance: sad and soulful in one scene, sardonically spiky and manically energetic in the next. With his craggy face and crumpled demeanour, the haunted detective prowled the streets of London like a wounded bear. I’m torn between wanting River to get recommissioned and wanting this series to stand alone as six near-perfect episodes.”

Aside from its UK screening on the BBC, River has also been available via Netflix internationally. In Canada, Globe and Mail critic John Doyle added his voice to Hogan’s, calling the show a masterpiece of melancholy crime drama: “It is the sort of drama critics rejoice in seeing. It is a stunningly successful hybrid of Nordic noir and the traditional, gloomy British police procedural. It is about solving a murder, but mainly about the intricacies of the human mind dealing with loss and terrible grief.”

The Rose D’Or sitcom category, meanwhile, brings international recognition for Stefan Golaszewski, writer of BBC2’s Mum. Golaszewski previously wrote Bafta-winning sitcom Him & Her for BBC2. In Mum, he tells the story of a woman seeking to rebuild her life following the death of her husband.

Catastrophe
Rose D’Or-winning sitcom Catastrophe is set for third and fourth seasons

When the show was commissioned, Shane Allen, controller of comedy commissioning, said: “Commissioning Mum was a delightfully easy decision after seeing the sure-footed pilot. Stefan is a unique author and this is a very confident next chapter in what promises to be a distinguished career in comedy. All his hallmarks are there – painful authenticity, comedy grotesques, emotional tenderness, revelation and depth – it’s a class act. I think it will connect with a lot of people as a refreshing take on an overlooked stage in life.”

Conveniently for the sake of narrative flow, last year’s Rose D’Or-winning sitcom Catastrophe is also in the news this week, with Channel 4 commissioning a third and fourth season of the critically acclaimed show. Created by and starring Sharon Horgan and Rob Delaney, the second season of Catastrophe was C4’s second-highest performing comedy of the year. The show has also been streamed in the US by Amazon Prime and picked up for adaptation for French-speaking Canada.

Announcing the news, Phil Clarke, C4’s head of comedy, said: “I am thrilled to commission a third and fourth season. It’s a welcome return for the brave, razor-edged, excruciatingly honest and painfully funny portrayal of a modern, long-term relationship.”

Raised by Wolves
Big Talk Productions’ Raised by Wolves

Critics have also been effusive in their praise of the show. The Guardian’s Will Dean said it “inverts the classic romcom with sexual honesty, a barrage of swearing and a wonderfully dysfunctional support cast. Catastrophe is a modern great. All 12 episodes [the first two seasons] were superb in pretty much almost every aspect. At its heart it’s an ordinary love story, couched in some first-class swearing, about sexual honesty, served with a side-plate of adultery, lust, elderly parents, flirtatious colleagues, money worries and a dead dog. The love story we deserve.”

The Times’ Hugh Rifkind added that it is “the funniest British comedy of the past five years. I shan’t say more, because it is so funny that me telling you the funny bits would be considerably less funny than you actually watching it, which is definitely what you should do. It’s tight and sparse and there’s never a wasted moment. In a nutshell, the best bits are about all the terrible things you never quite say to your friends, family and significant other, and what would happen if everybody just said them.”

Announcing the recommission, Horgan and Delaney said: “We are thrilled to be making a third season of Catastrophe. Rob and Sharon are a blast to spend time with. And we’re not talking about ourselves in the third person, we’re talking about the characters. We’re eager to breathe life back into Rob and Sharon. Okay, now we are talking about us. In the first season Rob and Sharon went through a lot (us) and even more in the second season (back to the characters). We’re looking forward to putting Rob and Sharon (both us and the characters) through further pain for your enjoyment (now we’re talking about you).”

This is England '90
This Is England ’90, written by Shane Meadows and Jack Thorne, is up for a Rose D’Or

Delaney recently took part in a panel session at the Cannes Lions International Festival of Creativity, during which he talked about the challenges of delivering great comedy. He talked about the need to keep ego under control, even when the world is telling you how great you are. “I had this fear of becoming this walled-off guy who wouldn’t listen. So I’m a real believer in humility,” he said.

Explaining why he persisted with comedy as a career, Delaney said: “I realised after the global financial collapse that no career is safe, that everyone else knows how comedians feel. So I thought I might as well do exactly what I want to do.”

He was also very refreshing on the subject of encouraging diversity, observing that it is “insane” not to draw on diverse voices. “My advice is to be selfish, make money by embracing diversity,” he quipped.

Finally, in the UK, there are reports that the new season of BBC period drama Poldark will go head-to-head on Sunday night with ITV’s new period drama Victoria (September 4, 21.00). Fortunately, most of us have time-shifting technology these days, so my guess is that people will store Victoria so they can avoid the ad breaks.

Poldark is written by Debbie Horsfield while Victoria is created and written by novelist Daisy Goodwin in her screenwriting debut. Alongside the likes of Sally Wainwright, Sarah Phelps and Abi Morgan, these shows may be indicators that female writers are starting to hold more sway in primetime – a section of the schedule that, from a writer’s point of view, can sometimes resemble a London gentleman’s club. Or Muirfield Golf Club.

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