The Grid (BBC2) - You knew where you were with the bad guys in the old days. They had but one ambition - to take over the world.

And you knew that someone like James Bond would come along and, after a few preliminary difficulties, would blow both villain and his underground lair to kingdom come.

Thrillers today have a tough time. The state of the world means that the fictional likes of Goldfinger and SMERSH have been replaced by real-life figures such as Osama Bin Laden and al Qaida.

Terrorism is the name of the game, all of which makes The Grid an uneasy blend of conventional thriller and contemporary horror story, even if the terrorists make a bad job of their first assignment. The dangers of smoking, especially when preparing a gas attack, become apparent when a carelessly-dropped bit of fag ash causes things to go wrong. Both terrorists and innocent bystanders die.

Unlike last year's C4 drama The Hamburg Cell, about two of the September 11 terrorists, The Grid isn't a reconstruction of a real event. This three-part series - spread across three consecutive nights this week - preys on the audience's knowledge of what's happening around the globe and packages those fears into a fictional TV drama.

Being a BBC and US co-production, the action keeps whizzing around the world, each new location announced on a caption at the bottom of the screen and each new character identified as something along the lines of "fundamentalist Saudi oil billionaire" or "special agent in charge of New York joint terrorism task force" (imagine the space that name plate occupies on the office door).

Just in case you don't realise the seriousness of the situation, Bernard Hill is there to remind you: "This is our worst nightmare". When you recall that he played the captain of the Titanic in the Leo and Kate movie, he doesn't inspire confidence.

Neither the American nor British intelligence seem to be on top of the situation. They may claim to strive for inter-agency co-operation but the stars are competing for both screen time and our sympathy. Mike Canary (Dylan McDermott) in the States keeps reminding us that his friend died in the World Trade Centre. And woe betide anyone who threatens his wife or child.

Back in Blighty, Jemma Redgrave is doing her bit but nobody is listening. "It's war, Emily, you can't take it to heart," she's told. She informs the Americans that they're being manipulated by the terrorists to concentrate on an attack in the wrong part of the world. And she's right, although saying "I told you so" after multiple bombings in Nigeria isn't the done thing.

Across the pond, Juliana Marguiles' character is making a rare admission for a top-billed actor. "I read it wrong," she admits after the terrorists catch the Nigerians unawares. With two more episodes to go, I hope she gets it right from now on.

Blood Brothers, Darlington Civic Theatre

YOU could say, another tour, another Nolan sister - in this case the fine-voiced Linda - but that doesn't recognise the audience-pulling power of this raw-boned rollick created by the genius of Willy Russell. Every seat to the Gods has been snapped up by those keen for a fresh transfusion of homespun humour and song set against the mean streets of Liverpool - and you can tell Wayne Rooney's former master Bill Kenwright is involved because the word Everton is emblazoned on the rear wall. Our hero Mickey (Sean Jones) now has a Toffees scarf tied to his school rucksack as we barrel brazenly through the Catholic-dominated world of single parent Mrs Johnstone who can't cope with seven children plus soon-to-be-born twins. So one is given away at birth to moral blackmailing Mrs Lyons (Tracy Spencer) and Mickey doesn't know that his "blood brother" in later life is really his twin Eddie (Joe Fredericks) until it's too late.

Sean Jones haunts the stage as the acid-voiced Narrator, Linzi Matthews is convincing as Linda, who is doomed to love both brothers, while Barry Sloane turns Mickey's criminal older brother Sammy into a squinting psychopath. This show works on the strength of its multi-charactered cast, so it was a pity that even the first few rows couldn't hear some contributions, and several familiar sound effects seemed absent. I've also heard some of the duets tackled more tunefully, but standing ovations were the order of the opening night for a musical with enough red-blooded effort to keep Dracula feeding for a fortnight.

Viv Hardwick

l Runs until Saturday.

Box Office: (01325) 486 555

Published: 08/09/2004