A love shared by what feels like pretty much the entire country.
Nine years on, as we hit the halfway mark of the third and final series, that love, like any long-term relationship has settled, and deepened. And it’s a love shared by what feels like pretty much the entire country.
It’s hard, impossible even, to talk about Catherine Cawood and Sarah Lancashire in different breaths. Because Lancashirecreator Sally Wainwright wrote the role of Catherine for Lancashire after. The magic lying in what Lancashire then summons from the page, the performance hailed a “masterclass” every week .
It’s a performance full of power and strength, but also soaked through with sadness, pain, grief, and that humour . Even after – maybe because of – everything she’s endured, she retains enough space for vulnerability and empathy, her heart breaking for the kidnapped Ann and for Alison who shoots her own son. From those big dramatic set-pieces to the small never-thrown-away moments and everything in between, not a second, not a word, is wasted in Lancashire’s hands.
Take the “stew” moment in last Sunday’s episode: Wainwright’s genius dialogue delivered with Lancashire’s naturalism, a musicality and rhythm that’s both human and entirely her own. The opening cafe two-hander with sister Clare : a single tear cutting through her hissed, quiet rage. Decades of trauma in the flint of her eyes, contained in the brace of her shoulders.
This may be a career-best performance, but one Lancashire’s been cultivating her entire life. From her early days in local theatre to Raquel in
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