Nolly preview: Russell T Davies eyes Crossroads and the original Megxit
Helena Bonham Carter plays a queen who loses her crown in the latest ITVX original.
Though it may not be apparent at first glance, there's a very clear theme connecting ITVX original drama Nolly to Russell T Davies's previous work – harrowing Channel 4 miniseries It's A Sin. That is, both involve the prolific screenwriter stepping into an educator role, examining a period in recent history unknown to younger generations and largely forgotten by the mainstream.
Of course, the distinct subject matter covered by each is beyond comparison, but that isn't to say that Nolly is without any emotional weight of its own. On the contrary, this too is dotted with moments of real poignancy.
For the uninitiated (i.e. anyone under the age of 40), Noele 'Nolly' Gordon was the face of long-running soap opera Crossroads for almost two decades, where she played strong-willed motel owner Meg Mortimer (née Richardson). Despite bitter disdain from critics, the series attracted enormous viewership of approximately 15 million per episode, making Nolly one of the most recognisable faces in the country.
When news broke that she had been abruptly fired from the show – a move she publicly condemned – the press became fixated on behind-the-scenes drama and rumours of what fate could befall her iconic character.
By entering your details, you are agreeing to our terms and conditions and privacy policy. You can unsubscribe at any time.
Helena Bonham Carter dons wigs and nylon for the title role here, instantly commanding attention with an opening scene that concisely demonstrates the control (or, some might argue, stranglehold) that Nolly had over Crossroads.
More like this
Though she would never acknowledge it, she was the star of the show – and the glue holding this humble production together. From mentoring newcomers to changing scripts and improvising wherever needed, it's quickly made crystal clear that axing Nolly would be tantamount to ploughing through a load-bearing wall. So why did it happen?
That's the question that hangs over this three-part series and haunted Nolly in her day-to-day life post-1981, both in moments alone and interactions with her adoring public. The tragedy is that, in reality, she never did find out the truth, although Davies plays with the history in this retelling to correct what he clearly views as a grave injustice.
The screenwriter's obvious investment in this saga makes him (uniquely?) qualified to tell this story, although at points there is a sense that his fandom might actually be a slight hindrance.
Particularly, the series finale feels like a meeting of the Noele Gordon appreciation society, with much of the tension dissipating as the story devolves into celebratory – but disjointed – anecdotes and a sprinkling of fan fiction.
Davies can't be entirely blamed for that as he is beholden to how the real events transpired. But perhaps this could have been avoided by trimming down the series to a two-parter or having the ability to view the subject through a more objective lens. Of course, the counterpoint to the latter is that Nolly's treatment by the establishment of the time was, objectively, cruel.
Davies's scripts pay close attention to the unspeakably disrespectful shunning of an accomplished woman by men in suits, along with the idea that has taken root since her death that Nolly was a diva who "deserved" such a rough ride.
In contrast, the strong writing and Carter's powerhouse performance work in tandem to show us the devastating impact this firing had on someone for whom work really was life – and consequently, for whom Meg Mortimer was hardly fiction. Your heart does break for her during this genuinely traumatising ordeal and longs for a triumphant resurgence that seemed inevitable, until fate intervened.
Those familiar with Noele Gordon will know that she passed away from stomach cancer in 1985, just a few years after her whirlwind exit from Crossroads. This is handled delicately by Davies towards the end of the series, capping off the otherwise soft finale with a moving flourish that provokes reflection on an astonishing life.
Standout co-star Augustus Prew is a particularly valuable asset in this regard, shedding his largely comic persona as Nolly's dear friend and colleague Tony Adams for a brief moment that leaves a lasting impact.
I fall firmly into the category of people who weren't familiar with Noele Gordon, or even Crossroads, prior to watching this show. It's clearly identifiable as a love letter to both regardless – from pain-staking set reconstruction to casting that I'm reliably informed is right on the money – but consciously remains accessible to a layman like myself.
Hopefully then, it can find an audience greater than die-hard fans as Davies succeeds in conveying why this scandal needs re-examination, packing in themes that continue to reverberate through the workplace decades later.
Nolly is available to stream now on ITVX. Check out more of our Drama coverage or visit our TV Guide and Streaming Guide to find out what's on.
Try Radio Times magazine today and get 12 issues for only £1 with delivery to your home – subscribe now. For more from the biggest stars in TV, listen to the Radio Times View From My Sofa podcast.
