comedy

In Advance of The Nightly Show

This evening, ITV launches its big new entertainment gamble – The Nightly Show. They’ve taken over The Cochrane Theatre near Holborn, and for the next eight weeks they’ve also taken over The News At Ten’s slot. (Recall, this is the slot that only a year ago, the then Media, Culture and Sport Minister was wondering if the BBC should vacate to let ITV have an unimpeded run. Hmmm.)

There have been four weeks’ worth of pilots, and the USP of the show is that it will have different guest host presenters each week, beginning with David Walliams tonight. John Bishop and Gordon Ramsey are also lined up.

I confess that I’ve heard a couple of slightly off-putting things in advance of the show. There’s the suggestion that it won’t be especially political, which is odd in these political times. In an interview in The Guardian today, Kevin Lygo, ITV’s Director of Television is reported as saying:

‘”It’s not satire with a capital S,” he says. “They’ll poke fun at the news in a broad way, just as most chatshow hosts do.”‘

With a hope that they create lots of viral videos, it feels like it wants to be more James Corden than Samantha Bee or John Oliver.

But you have to set that against a time when we’ve got Brexit, May, Corbyn, Farage, Trump, and right-wing nationalism across Europe. While I wouldn’t necessarily suggest bringing it back (they already tried to an extent with Newzoids), Spitting Image was nothing if not political.

So I wonder if hidden camera japes and audience surprises are quite right? In any case, don’t Ant & Dec already do that with aplomb on Saturday nights?

Interestingly, in the US, Stephen Colbert has recently been overtaking Jimmy Fallon for the first time, with the suggestion that it’s because he’s taken a more political line following the election of Trump. Colbert comes from a background of devastating political satire on Comedy Central; Fallon ruffled Trump’s hair.

I also think we need to be bit careful making comparisons with some of these US shows.

Jimmy Fallon, Stephen Colbert and Jimmy Kimmel all air at 11.35pm on the coasts, not 10.00pm as The Nightly Show will. James Corden and Seth Myers air at 12.35am; long after any sensible person with a job has gone to bed.* This is also why producing viral videos like Carpool Karaoke segments is so important for Corden and his peers.

Calling a show that airs at 10pm a late-night show, is not just misleading, it’s wrong. Upwards of 10 million people are still watching UK TV at that time.

It’s also worth noting that the biggest chat show failure of recent times in the US, was when NBC gave Jay Leno a nightly 10pm slot for a while when he stepped down from The Tonight Show (before booting out Conan O’Brien and dropping Leno back in at 11.35pm, in a particularly unedifying moment in US late night TV show history). Arguably that was a different type of show, and the TV landscape at 10pm in the US is very different to ours.

However, one thing is clear. This show will undoubtedly take a bit of time to find its legs. So tomorrow’s overnights, which will be eagerly pounced upon, along with those of its leadout show, series three of Broadchurch, should be taken with a large pinch of salt.

As for the pushing back of The News at Ten – which becomes simply The ITV News, no doubt without the bongs – I would suggest ITV simply settles in that slot on a long term basis. It then won’t compete directly with the BBC, and at 10.30pm there’s no reason why both a more analytical Newsnight on BBC2, and a more mainstream ITV News can’t exist simultaneously. The downside for ITV is that on really big news days, the ratings for the BBC Ten O’Clock news will soar, while late local news bulletins and football highlights will take ratings hits.

* In the central timezone, these shows are on an hour earlier. But the over 60% of the US population gets these shows at the later time.

Great Britain

Here’s something a little unusual – a play that was written and rehearsed in secrecy, only being revealed at the culmination of the hacking trial, with the first performances at the National Theatre taking place just a week later.

This certainly ticked all my boxes with the subject matter.

This a fictionalised account of the phone hacking scandal, from Richard Bean, with everything happening at The Free Press, a tabloid paper edited by Wilson (Robert Glenister) and with a newsroom led by the ambitious Paige Britain (Billie Piper). In a story that parallels, but doesn’t quite replicate reality, Britain learns from a concerned reader that it’s very easy to listen into other people’s mobile phone messages – especially if you know the network and the default PINs.

Throw in an Irish proprietor with big television ambitions, a corrupt police force subservient to the press and willing not to investigate unless they really have to, an MPs’ expenses scandal, an inept Metropolitan Police Commissioner, a journalist looking to get scoops by dressing up as an Arab prince (amongst others) and a PM who’s desperate to win the support of the press, and you have… well… something that’s not a million miles off the truth.

Oh yes, and there’s an editor with long curly hair, who simply has no idea how her paper’s stories are being generated and is genuinely shocked when it all comes home to roost!

This is a rambunctious play with everything dialed up to 11. If you’re looking for delicate performances then this really isn’t for you. It’s only a few steps away from some kind of pantomime for Guardian readers (See – I told you it ticked all my boxes). In tone, imagine an elongated version of Drop the Dead Donkey set in a newspaper rather than TV newsroom.

Piper is great playing an over the top, stop-at-nothing career obsessed news editor, never overly concerned with morals, and nearly everything else is played for laughs.

There are some great comic moments. Glenister’s news conferences are basically excuses to crack lots of bawdy gags, and that’s no bad thing. Meanwhile Aaron Neil’s Metropolitan Police Commissioner Sully is just goes from disaster to disaster. Every time he gives a press conference or television interview, you know you’re in for a treat.

The production design is simple but very effective with glass walls doubling as office dividers and projection screens for interstitial videoed sequences. These include Free Press TV ads (“Is your vicar on gaydar? We have the answers.”) through other newspapers’ headlines (“Guardener: We think, so you don’t have to,” and a Daily Wail who’s headline has to include the word “Immigrant” regardless of the story), and short video extracts from TV news or in one wonderful scene a select committee.

Overall, it’s a very fun way to spend an evening, even if it’s not the greatest piece of work ever. It encapsulates the madness and hideousness of the whole phone hacking debacle, and is generally a good night out. The rapid response nature of the production feels smart too. So it’s perhaps not surprising that there’s already a West End transfer taking place.