Category Archives: Shakespeare

Caught in a Bard Romance

SHAKESPEARE IN LOVE

Crescent Theatre, Birmingham, Saturday 24th August, 2022

Famously, little is known of Shakespeare the man, although we actually know more about him than other playwrights of the time.  The gaps in our knowledge are taken as an open invitation to screenwriters, novelists, and everyone else to invent whatever they like to make their own version of him.  Tom Stoppard and Marc Norman chose to straightwash the bard in their screenplay for the Oscar-winning 1998 film – Shall I Compare Thee To A Summer’s Day is widely recognised as having been written for a man.  The screenplay takes plot points from Romeo & Juliet and Twelfth Night, with the idea that these life events inspired the plays, when in truth Shakespeare’s plays were adaptations of pre-existing stories.   Not that this matters if we take this version at face value.  Lee Hall’s stage adaptation of the screenplay holds true to the spirit of the film, and there’s a lot of fun to be had recognising versions of famous quotes.  Even if you’re not well-versed (ha) in the Works, there is much to enjoy in this historical rom-com.

What strikes you first off in this sumptuous production is the set, which evokes the Globe Theatre and serves well for other locations.  Milling around pre-show the cast give us previews of their costumes.  As ever the costume department at the Crescent goes all out.  This is a fabulous-looking show; Rosemary Snape and her team should be commended.

Oliver Jones is a handsome and endearing Will Shakespeare, managing to be both cerebral and bumbling.  Alisdair Hunt makes an impression as his rival-mentor-friend Kit Marlowe.  The notion that Marlowe fed Will some of his best lines under a balcony is more akin to Cyrano de Bergerac!

Bethany Gilbert absolutely shines as Viola de Lesseps who disguises herself as a boy in order to secure a role on the stage.  Her delivery of the verse is second-to-none, although the play misses the opportunity to make the most of Will’s apparent attraction to someone of the same sex, as in Twelfth Night, say.

The ever-excellent Jack Hobbis is, have a guess, excellent as ever in his portrayal of harried theatre manager Henslowe, with superb timing and a performance that is just the right side of Carry On.  The mighty James David Knapp absolutely storms it as the larger-than-life actor Ned Alleyn, while Joe Palmer is suitably entitled and horrible as villain of the piece, Wessex.

Also great are Mark Thompson as the bullish financier Fennyman who taps into his artistic side when he lands the role of the apothecary; Phil Rea as a deliciously bombastic Burbage; and Pat Dixon-Dale as Viola’s long-suffering Nurse.  Jaz Davison’s imperious Queen Elizabeth is not without nuance.

There are many pleasing moments from supporting players: Charles Hubbard as boy-actor Sam; Dylan Guiney-Bailey as a bloodthirsty Webster; Niall Higgins as the Nurse within the play; Simon King as a riverboat cabbie…

A taut consort of musicians and vocalists provide period music to underscore the action and to cover transitions, and it all sounds perfectly lovely under Gary Spruce’s musical direction.  There are a few moments when the music almost drowns the dialogue – luckily Mark Thompson is often around to tell them to shut up!

Director Michael Barry keeps the action well-focussed on an often busy stage – the period choreography is charming and doesn’t get in the way of the action.  Keith Harris’s gorgeous set is backed by beautiful scenic projections, with Kaz Luckins’s fight direction adding authenticity as well as excitement.

A fine and funny fabrication that demonstrates the high quality production values on which the Crescent prides itself.  All in all, an evening of excellent entertainment.

Oh, and there’s a good bit with a dog!

☆ ☆ ☆ ☆ ☆

Oh boy! Bethany Gilbert as Viola and Oliver Jones as Will (Photo: Graeme Braidwood)

Dick Moves

RICHARD III

Royal Shakespeare Theatre, Thursday 15th August, 2022

Perhaps more than most plays, Shakespeare’s Richard III depends on the charisma of its leading man, who in this case happens to be the villain of the piece.  Through soliloquies and asides, the scheming Duke of Gloucester lets us in on his nefarious plots.  Richard needs to be more than a pantomime villain, enjoyable though it is to boo and hiss at those figures.  This production boasts a remarkable Richard; we take to him from the off.  From the sarcasm of the famous opening speech and along every step of the way as his Machiavellian machinations play out, Arthur Hughes gives us a somewhat Puckish Richard, playfully turning on the histrionics whenever someone needs gaslighting.  It’s a joy to watch him at work, especially since most of the other characters are ‘worthy’ beyond stomaching.  The quickfire asides and glances through the fourth wall, the lines that drip with dramatic irony, are all deliciously delivered.  The wooing of a woman he has widowed is a masterclass in manipulation.

Hughes is supported by a superlative company.  In a play where the women have little else to do but grieve and wail, Minnie Gale’s Margaret stands out in a powerfully emotive scene.  Kirsty Bushell’s keening cry as the grieving Elizabeth is truly heartrending and has to be heard to be believed.  Jamie Wilkes impressed as Richard’s sidekick, the Duke of Buckingham, while Conor Glean and Joeravar Sangha are great fun as a pair of darkly comedic murderers who have been sent to despatch Ben Hall’s sympathetic Duke of Clarence.

Director Gregory Doran keeps the action fast-moving with swift transitions, and the sense of period in augmented by some beautiful treble vocals.  The climactic battle scenes are presented in a highly stylised manner using physical theatre and a symbolic staining with blood of the massive cenotaph that has cast its shadow over proceedings.  These scenes come hot on the heels of an effective dream sequence where Richard is tormented by those he has killed.  The sudden stylistic shift at the tail end of the play is at odds with the rest of the show, making this a production of strong moments but patchy in its overall presentation.  The first half is bum-numbingly longer than the second.

Of course, the play has plenty to say to us about the times we live in — especially given recent events:  the suitability (or otherwise) of those who rule over us; the gaslighting of the masses by those who abuse their power… Unlike the liars and crooks in power today, Richard does not get off scot-free.  Perhaps that’s why we indulge him in his excesses, and perhaps that’s why our sense of morality and our need for a proper story make us hope the wretches in government get their comeuppance.

☆ ☆ ☆ ☆

He came to slay: Arthur Hughes as Richard III
(Photo by Ellie Kurttz (c) RSC)

Well?

ALL’S WELL THAT ENDS WELL

Royal Shakespeare Theatre, Wednesday 7th August, 2022

Everyone knows the title of Shakespeare’s late comedy (characters even say it as part of their dialogue) but fewer people are familiar with the story it tells.  The play isn’t performed as often as Much Ado, Twelfth Night and As You Like It, so every new production has a head start in delivering something fresh.

Basically, young Helena takes a fancy to Bertram, who rejects her.  She does a favour for the King of France (as you do) and he grants her a wish.  Her wish is to marry Bertram.  Bertram runs away to war because that is preferable to an unwanted marriage, apparently.  Helena goes after him, finds the girl he’s got his eye on and colludes with her to swap places so that Bertram will have sex with Helena after all, unwittingly and without consent.

In some respects, Helena can be regarded as something of a feminist figure, a woman who knows what she wants and goes all out to get it.  Trouble is, she behaves like a man to do this.  Since comedy was invented, male characters have done what Helena does, the exception being that the female object of pursuit enjoys the chase, making only token protestations.  Imagine Sid James going after Barbara Windsor and you get my point.  But when the tables are turned, and it’s a woman taking the lead, it’s uncomfortable somehow.

At this performance, the role of Helena is played by Jessica Layde, and she does a good job, although in later scenes, when Helena is pretending to be a pilgrim, more could be made of the character’s duplicity.  Deception is a big theme of the piece, after all.  Benjamin Westerby is pitch perfect as the cocky but emotionally immature Bertram, while Jamie Wilkes steals the show as the cowardly braggart Parolles.  We like him instantly, as a stock character, an archetype that predates Shakespeare by centuries, but when he is mock-kidnapped and mock-tortured by his soldier buddies, and spills his guts, being even more careless with military secrets than Donald Trump, things change.  The moment when Parolles strips himself to his underpants, rolling around the stage, divested of all pretence is, along with the very final few seconds, the most striking point of the production.

Funlola Olufunwa brings a confident and easy nobility to the elegant Countess, and I could watch Micah Balfour all night.  Bruce Alexander as the King of France and Simon Coates as LaFew show how it should be done, demonstrating vocal strength and mastery of the text that is not quite there with some of the less experienced members of the cast.

Director Blanche McIntyre is keen to point out that her production is set in the here and now.  Projections flash up the date, along with news reports, social media posts (mostly illegible) and selfies; I’m not sure they add much to proceedings other than crying out ‘Look!  How relevant we are!’, when really what is interesting and contemporary about the piece is the reversal of gender behaviour, with Helena as a predatory figure.  In the light of the #MeToo movement, there is much to explore here.

All’s Well is a play of moments rather than a cohesive whole.  This production delivers the highlights superbly but doesn’t really get to grips with the lesser parts.

☆ ☆ ☆

Call that a knife? Jamie Wilkes as Parolles
Photo by Ikin Yum (c) RSC

Tee Hee or Not Tee Hee

HAMLET: The Comedy

Belgrade Theatre, Coventry, Tuesday 14th June 2022

Oddsocks Productions’ summer tour this year contains all the hallmarks that make their shows so funny: Shakespeare, music, puppets, daft wigs… but this time, there’s a twist.  The original text adapted by in-house genius Andy Barrow is the most famous tragedy ever penned, that of the Great Dane (and I don’t mean Scooby Doo.)   So, does it work? 

Barrow himself appears as Claudius, a Viking chieftain, looking like Henry VIII but with all the vocal intonations of our current unprincipled and criminal Prime Minister – instantly establishing himself as the villain of the piece.  Barrow’s political satire has never been more prevalent, more acerbic, or more necessary, in a play that deals with someone who is unsuitable to rule.  He’s also very funny, brimming with vapid Bo-Jo waffle, his motives thinly veiled.  Topical asides zing through the script, making us enjoy the villain’s demise all the more when it finally happens.

Barrow’s partner in greatness, the formidable Elli Mackenzie appears as Gertrude, with something of our Queen’s plummy tones but none of her emotional reserve.  Mackenzie also plays Hamlet’s BFF, Horatio as a sort of likeable oaf.

In the title role is Theo Toksvig-Stewart, an excellent addition to the team, expressing teenage moodiness through physicality and handling the text with clarity and ease.  His ‘To Be’ has him toying with the idea of casting himself from the battlements, and it’s enlightening: his death could come at any precarious second, rather than the Prince contemplating suicide as an abstract concept, as per usual.  Thus, Andy Barrow’s direction sheds new light on the well-known speech.  This Hamlet is instantly likeable and he’s more than capable of holding the stage on his own.

Amber Lickerish’s Ophelia is played straight, a foil for Hamlet’s capers.  When it comes to her mad scene, the jokes fall away.  There are moments when Shakespeare’s tragedy bubbles up through the surface silliness.  Clearly this troupe could pull off a straight version if they were that way inclined.  The result is a patchiness in tone and approach.  Luckily, we are not kept waiting long for the daftness to reassert itself over proceedings.

The marvellous Jack Herauville (Laertes, Polonius, etc) is consistently delightful.  The climactic fight between Laertes and Hamlet – here done with spears rather than swords – is thrilling and funny.  The show is at its best during its madcap moments: a hunting scene with glove puppets, the skirmish in Ophelia’s grave…

Barrow doesn’t send up the material but rather plays with it.  It’s a very playful play.  There are just a couple of pacing issues keeping it from comedic perfection.

☆ ☆ ☆ ☆


Hooray! Henry!

HENRY VI: REBELLION

Royal Shakespeare Theatre, Stratford upon Avon, Saturday 7th May 2022

Shakespeare’s history plays – dramatized and fictionalised versions of real events involving real monarchs – inevitably these days draw comparisons with Game of Thrones.  Here there be no dragons, but there’s pretty much everything you’d expect in terms of loyalty and betrayal, honour and dishonour, treachery and rivalry, and power grabs galore.  There’s violence and gore, and even a mystical scene in which a severed head on a pole is consulted about the future.

Mark Quartley is the young king Henry VI, something of a weakling and therefore ripe for plucking from the throne.  There is no shortage of wannabe kings.  Chief among them is a deliciously wicked York (Oliver Alvin-Wilson) and the dashing Suffolk (Ben Hall).  Quartley is effective as the meek monarch; you will him to stand up for himself and when it finally happens, Quartley shows us the toll it takes out of the frail king.  Alvin-Wilson is hugely enjoyable – all he needs is a moustache to twirl, while Hall’s Suffolk has more range as a character.  When he meets his violent end, it’s hard to watch.  Director Owen Horsley uses suggestion as much as blatant gore, making for some very unpleasant but irresistible moments.

Minnie Gale is tons of fun as Margaret, Henry’s unfaithful queen, a vivacious, unconventional young woman who brings a whole new meaning to getting head from one’s lover…

Lucy Benjamin is powerful as Eleanor, the Duchess of Gloucester.  Though she be but little, she is fierce.  Oops, sorry, wrong play.  Her fellow EastEnders alumnus, Aaron Sidwell, is a treat as rebel and rabble rouser Jack Cade, with a cocky/Cockney swagger and a twinkle in his eye.  You expect him to call someone ‘Treacle’ at any moment.  Something the play demonstrates all too clearly is how the public can be manipulated by empty promises and stirring rhetoric.  It’s a nice touch to have the mob speak lines in perfect unison, showing how they are of one mind/brain cell.

Richard Cant is in excellent form as Uncle Gloucester, matched by RSC stalwart Paola Dionisotti as Cardinal Winchester, whose death scene is the best of the lot.

The huge cast comes and goes but the action is never less than perfectly focussed.  The simple staging (rostra and a medieval throne) are all that’s needed; the action is augmented by judicious use of projections on the chainmail backdrop: huge faces looming, and there’s a sequence when Cade and his rabble are roaming the streets, represented here by the corridors of the Royal Shakespeare Theatre.

Add to this, splendid historical costumes (such a relief they didn’t set the play at the time of the Cod War or on Mars or somewhere) and Paul Englishby’s superlative music, all mournful horns and stirring strings played live, and we’ve got a marvellous three-hours traffic on the stage.

I can’t wait to see the companion play next week!

☆ ☆ ☆ ☆ ☆

Mark Quartley as Henry VI (Photo: Ellie Kurtz)

WARS OF THE ROSES

Royal Shakespeare Theatre, Stratford upon Avon, Thursday 12th May 2022

The excellent ensemble is back with the companion play, continuing the story of England’s feeblest king.  This time there is even more running around, with the severed heads of various characters tossed around like so many basketballs.  Director Owen Horsley brings out the black humour of the piece at every opportunity to offset the grisly deaths and the heartfelt grief.  Oliver Alvin-Wilson’s York is even more enjoyable, the character being more rounded this time around.  His speech of grief for his murdered son and fury for the bloodthirsty Margaret (Minnie Gale being phenomenal again) is the most powerful moment of the first half.

New characters come to the fore.  Arthur Hughes as York’s son Richard, who becomes the Duke of Gloucester, gives a show-stealing performance and I cannot bloody wait to see him continue the role in Richard III in just a few weeks’ time.  Conor Glean’s Young Clifford, full of righteous vengeance and a Merseyside accent, and Ashley D Gayle as York’s eldest son, Edward, both make strong impressions.  Ben Hall, playing middle son George (later Clarence) also does a heart-wrenching grief-stricken moment.

The live video footage not only allows for two locations to share the stage, but also artfully frames the action: clever use of a child’s crown in the foreground while the child that wore it is being butchered makes the violence cinematic and symbolic.  Indeed, the only piece of furniture in the entire show is the gothic throne, the thing everyone is fighting over, while the ground it stands on is increasing ruined.

Richard Cant appears in an amusing turn as King Lewis (sic) of France, not quite going the full Allo, Allo! but in the vicinity.  Sophia Papadopoulos’s portrayal of the young and valiant Prince Edward is assured, so we’re shocked by his inevitable murder.  Lots of killings in this play, and plenty of exciting swordplay, thanks to fight directors Rachel Bown-Williams and Ruth Cooper-Brown.

It’s a time when first names were in short supply.  Everyone is either a Henry, a Richard, or an Edward, it seems, so it’s something of a relief when they start referring to each other by place names instead.  Who would have guessed that a Duke of York could turn out to be so troublesome?

A thrilling, visceral, funny, and moving production, with Mark Quartley’s conflicted king at its heart.  The three-hour run time flies by.

☆ ☆ ☆ ☆ ☆


A Bridgerton Too Far?

MUCH ADO ABOUT NOTHING

The Crescent Theatre, Birmingham, Sunday 3rd April 2022

Michael Barry sets his Much Ado in the Regency period, like the popular series on Netflix.  For the most part, it’s an excellent fit, with the exterior manners and elegance a suitable setting for Shakespeare’s wittiest rom-com. This is Bridgerton in looks and feel, but with an infinitely better script! Barry’s set design has two plastered columns framing the upstage area, the bases of which have cracked to reveal the brickwork beneath, representing the truth beneath the surface.  It’s a clever detail.

The ever-excellent Jack Hobbis gives us his Benedick, complete with mutton-chops and poufy hair.  He is Mr Darcy, an upright romantic hero with a quick wit and a big heart.  Hobbis does an admirable job and you can’t help falling for him.  Naomi Jacobs’s Beatrice has the acid tongue and merry wit down pat, but she’s a little too loud for the studio setting, delivering all her lines at full volume – sometimes going up to 11.  A bit more variance and she’d be perfect.

Andrew Elkington makes for a posing, preening Claudio, all righteous indignation in the pivotal church scene, and thoroughly detestable afterwards, until his redemption, of course; a pretty face masking his petulance and objectionable self-righteousness.  Spot on!  Also great is Papa Yentumi as Don Pedro, the fun-loving prince, at ease with his high status and game for a laugh.  As his bastard brother, Tom Lowde gives us a volatile Don John, but he needs not to race through some of his lines so we can enjoy his evil nature all the more. 

Man of the match for my money is Mark Payne as Leonato, effortlessly convincing throughout, and electrifyingly emotional in that church scene.

Suzie King’s Hero contrasts sweetly with the acerbic Beatrice, and there is solid support from Skye Witney as Antonia, Jessica Terry as Margaret, Colette Nooney as Ursula, and James Browning as the villainous Borachio.

I’m afraid though the Dogberry scenes don’t quite come off.  Ben Pugh could make more of the constable’s bombast, building him up more so he can deflate further.   There are more laughs to be gained here. The Watch scenes seem clumsily staged.  Perhaps there were council tax cutbacks in Messina at the time, but surely they could stretch to at least a third Watchman.

There is lovely music, all piano and strings, by Salwan Cartwright-Shamoon, but there at times when it is intrusive, detracting from the action rather than supporting it.

I’ve said it before but it bears repeating, the phenomenal Costume Department at the Crescent goes all out to create beautiful and accurate clothes to suit the world of the production.  Designer Jennet Marshall has excelled herself here, and credit is due to her team: Carolyn Bourne, Anne Hignell, Stewart Snape, Rose Snape, and Pat Brown, for the stunning array of uniforms, posh frocks and tailored coats on display.

A great-looking production that hits most of its marks, featuring some excellent performances by its leads.

☆ ☆ ☆ ½

Andrew Elkington and Jack Hobbis (Photo: Graeme Braidwood)

Bloody Great

MACBETH

The Attic Theatre, Stratford upon Avon, Wednesday 30th March 2022

This production by Tread The Boards takes a traditional approach, with splendid medieval costumes conveying the historical period, although with the Northern English accents, it’s less Glamis Castle and more Winterfell.  But at least there’s consistency, creating the world-of-the-play most effectively.  The action plays out against a huge map of Scotland, which has been torn —  symbolising the political climate of the story.

Judicious use of sound design (courtesy of the brilliant Elliott Wallis) makes the intimate Attic Theatre space feel larger.  The sounds of hurly-burly surround us.  Cast members running around and fighting put us right in the action.  Enter Three Witches… This ragtag trio engender an otherworldliness, even though they could pass for mortal women – their eye-of-newt scene later on is horrible, as they place the disgusting ingredients in their cauldron.  The Witches also double as other characters: servants, messengers, giving them a direct hand in the unfolding doom of their victim.  Witch 2 (Sally Hyde Lomax) doubles as the Porter, bringing much-needed comic relief to the tense scenes surrounding the murder of Duncan.  Witch 3 (Clara Lane) makes a sympathetic Lady Macduff, while Sarah Feltham’s Witch 1, the twitchy one, offers support in a string of minor roles.  The impression is given that the Witches are more directly involved in Macbeth’s downfall than we might have thought.

Speak of the devil.  Daniel Wilby’s Macbeth is a credible warrior (some Macbeths I’ve seen aren’t!) and his conversion to the dark side, while a little speedy, is also believable.  Wilby is at his strongest in the scenes where Macbeth unravels – the banqueting scene is especially powerful – and his portrayal of a man under immense stress, with violent outbursts, is captivating.

He is more than matched by Alexandra Whitworth, who is quite simply the best Lady Macbeth I have seen.  The steely-eyed wickedness, the growing sense of isolation, the mental breakdown… all played to perfection.  Whitworth brings out the character’s humanity.  She is so much more than a wicked woman who can’t cope with the consequences of her actions.

Honestly, this is a truly excellent cast.  Phil Leach’s King Duncan exudes kindness without losing any of his regal status; Ben Armitage’s Malcolm is superb – like Macduff, we take him at his word.  Armitage gives the boy king assuredness; he is definitely this Duncan’s son.  Pete Meredith’s Banquo goes from brave and noble best mate to terrifying apparition.  A versatile actor, Meredith later appears as the doctor – the contrast couldn’t be greater.  John-Robert Partridge’s forthright Macduff is thoroughly righteous and decent.  Partridge’s rich speaking voice is a pleasure to hear, and you wouldn’t want to get on the wrong side of him.

There is strong support from the likes of Tom Lane’s Lennox, Edward Manning’s Ross, and Patrick Large as Seyton.  Everyone handles the language with clarity and understanding.  John-Robert Partridge’s direction gets everything right, the supernatural bits are unnerving, the action scenes are exciting – the climactic swordfight between Macs Duff and Beth is thrilling – making the confines of the performance space seem large enough to contain this story of a nation in upheaval, while yet intimate enough to chart the decline of our tragic hero.  Partridge doesn’t clutter the stage (there’s no room) but lets Shakespeare’s text do the donkey work, ensuring that this superlative cast deliver the time-worn words with truth, ease and freshness.

Bloody marvellous.

☆ ☆ ☆ ☆ ☆

Mr and Mrs: Daniel Wilby and Alexandra Whitworth as the Macbeths (Photo: Andrew Maguire Photography)

Merry Wives of Wakanda

MUCH ADO ABOUT NOTHING

Royal Shakespeare Theatre, Stratford upon Avon, Thursday 24th February 2022

This new production of theatre’s greatest rom-com boasts an ‘afro-futuristic’ setting – obviously influenced by Marvel’s Black Panther film!  As a world unto itself, this ‘Messina’ works very well.  Jemima Robinson’s set design is simple but exotic, futuristic and  yet retro.  I especially like the little illuminated bulbous plants that border the stage, and the geometric shapes that predominate the setting.  This Messina is a bright and colourful place – which is supported by Melissa Simon-Hartman’s glorious costumes with their strong, solid hues and striking silhouettes, marrying African elements with sci-fi kitsch, in an eye-popping cavalcade of outfits.  This is a great-looking show.

It also sounds phenomenal, with original music by Femi Temowo, played live by an octet of musicians, including some luscious brass.  The jazz/funk/soul/old school R&B-infused score is irresistible and, mercifully, no one raps.  Which makes a refreshing change.  Album release, please!!

Director Roy Alexander Weise makes the script more accessible to a modern audience by updating some of the more archaic vocabulary.  Most of the substitutions hit their mark and get the point across, although uptight purists might squirm.

A strong ensemble cast populates the story of deception and fake news, but any Much Ado is only as good as its Beatrice and Benedick.  In the role of Beatrice, the witty wise-cracker, is Akiya Henry, giving a star turn in comedic acting.  Her word play is razor sharp and it’s matched by her physical comedy.  Henry’s energy is equalled by Luke Wilson as witty wise-cracker Benedick.  Wilson exudes warmth in his portrayal; this Benedick is not only a funny man but a good man too, someone you’d like to know and drink with,

Don Pedro is presented here as Don Pedra, a princess.  The pedant in me wants to scream ‘Shouldn’t that be Donna Pedra?’ but I don’t, because I don’t want to be ejected.  The gender swap allows for a bit of LGBTQ+ inclusivity, which works very well, and Ann Ogbomo is marvellous in the role, embodying a spirit of fun and of (misguided) indignation.

Mohammed Mansaray’s Claudio really comes to life in the church scene, rising to his big moment.  It’s hard not to dislike Claudio in subsequent scenes but Mansaray wins us back when he shows Claudio’s devastation upon hearing the consequences of his actions.

Which brings me to Hero, played by Taya Ming, who invests the role with feistiness and fire, reminding us that Hero is a close relative of Beatrice and not the simpering good girl that she is sometimes shown to be.

Kevin N Golding’s Leonato is just about perfect.  Golding calls at all the stops on the character’s emotional journey and nails every one.  Even though he looks like a Time Lord in a disco wig, he has tears springing to my cynical old eyes more than once.

Also enjoyable are Karen Henthorn’s pompous, Northern Dogberry and the Watch, whose bumbling and malapropisms contrast nicely with the erudite banter of their social ‘betters’.  Here the costumes are their most sci-fi comic book, adding to the fun.

As the villain of the piece, Don John the Bastard, Micah Balfour is deliciously anti-social in this party atmosphere.  Balfour relishes the nastiness and vindictiveness, and therefore so do we.  If only his snazzy boots didn’t squeak so much when he walks!

This is an exuberant, heart-warming, rib-tickling, tear-jerking production of a play that demonstrates that the writer bloody knew what he was doing.  Moments of high (and sometimes low) comedy flip and become intense scenes of powerful drama and, like the plotters in the story, Shakespeare makes us fall in love with Beatrice and Benedick.  Weise’s direction does a bang-up job of delivering these tonal changes effectively, to create a supremely entertaining piece that packs an emotional wallop or two.

One of the reasons I love Much Ado so much is because it reveals something about the playwright’s character, the unknowable Mr Shakespeare who is absent from his other works.  The play shows that without doubt Old Bill was a very witty fellow.  You can’t write Beatrice and Benedick if you don’t possess their sense of humour.  He must have a been a right hoot at parties.

☆☆☆☆☆

Much Afro About Nothing: Mohammed Mansaray, Kevin N Golding, and Taya Ming.
Photo by Ikin Yum (c) RSC

Comedy and no mistake

THE COMEDY OF ERRORS

Belgrade Theatre, Coventry, Tuesday 15th June, 2021

It is nothing short of wonderful to be back in a theatre and watching the country’s funniest theatre company, Oddsocks, back on stage, doing what they do so brilliantly, after an enforced hiatus.  Every time the company revisits a Shakespeare play they have toured once or twice before, they do something new with it, thereby keeping their work fresh and funny.  This new production of Errors benefits from a host of folk songs and sea shanties, where previous versions have been resplendent with pop songs.  Here the a capella singing lends atmosphere, and later, when accompanied by instruments, it’s still rousing stuff, keeping the energy levels high during transitions.  I suspect this shift in musical style, using tunes in the public domain, is a cost-cutting exercise in these straitened times, but whether it is or it isn’t, it works extremely well.

Director/adaptor Andy Barrow has cast his Mrs in a lead role.  Producer Elli Mackenzie appears as Antiphoni of Ephesus (and of course her identical twin from Syracuse) thereby cementing her position in my view that she is the funniest woman in the land.  She and Barrow (as the hapless servants Dromio) form an exquisite double act.  It’s a rare treat to see them performing together.   There’s an abundance of physical comedy in this show, including a sequence with a large trunk that reminds me of Laurel & Hardy’s The Music Box, and the slapstick violence between the pair is like two stooges in search of a third.

Oddsocks veteran, the charming Joseph Maudsley makes a welcome return, appearing as Adrian (husband to Antiphoni – the gender swap doesn’t get in the way of the machinations of Shakespeare’s farcical plot).  I was expecting a Rocky moment with Antiphoni calling her hubby’s name – but then, what do I know?  Maudsley has an easy-going, immediately likeable stage presence.  As do new recruits Harrie Dobby and Jack Herauville who fit right in with the company’s madcap style, delivering a range of supporting roles.

Comic business is Oddsocks’s business, hearkening back to commedia dell’arte; it’s the kind of thing that has to be seen live, for the timing, the daftness, and the sheer skill required to pull it off.  And it’s all reasonably faithful to Shakespeare’s text, honed into two-hours traffic on the stage, with the occasional topical reference thrown in for good measure.  The good news is this is the start of their summer tour.  They will surely be visiting an indoor or outdoor venue near you soon.  It would be an error to miss them!

*****

Publicity image. You can check out TOUR DATES HERE.


Video (et gaudeo)

BARD FROM THE BARN – Shakespeare’s Greatest Characters in Lockdown

YouTube, Wednesday 1st July, 2020

 

With theatres closed, indefinitely it feels like, some companies are streaming live recordings of past productions to keep us entertained.  Others are seeking to produce new work, using whatever means they can.  Last week, I enjoyed a play performed live on Zoom.  This week, I’m looking at a collection of pre-recorded monologues, put together by the Barn Theatre.

There are almost three dozen to choose from.  You can dip in and out as little or as much as you like, or you can select PLAY ALL and work your way through, so there is flexibility there, and of course you can watch it on your laptop, your smartphone, or your big telly, making the viewing as formal or as informal as you like.  You choose the way you watch.

For review purposes, I’m sitting back with a cuppa in front of the big telly.

What plays out before me is an impressive range of ideas and variety of means of presentation, as actors in isolation perform speeches from the tragedies, histories and comedies (some better known that others).  In general, the dramatic speeches tend to come across better than the comic ones – that being said, the knockabout comedy of Tweedy the Clown as Dromio of Ephesus (Comedy of Errors) appearing on a sort of Jeremy Kyle show, is very funny!

They’re all worth a look.  Some feel like extracts, some feel like short films complete in themselves, like Daniella Piper’s Julia (Two Gentlemen of Verona) tearing up a love letter from Proteus and trying to piece it together again.

I can’t mention them all but here are some of my favourites.  Aaron Sidwell (who also produces) appears as Marc Antony, a media-savvy politician giving an address on a rolling news channel – the medium is perfectly suited to his rhetoric; Adam Sopp’s Iago, exudes menace in a triptych of mirrors; Ryan Bennett’s Edgar, where the jerky smartphone filming represents his state of mind; Ben Boskovic’s Richard II, vlogging in his bedroom; Sarah Louise Hughes as Juliet, recording her final moments in a onesie in her bedroom, before she takes the fateful drug; and the pent-up passion of Jasper William Cartwright’s Romeo, who is homeo aloneo.

Some are simpler than others, with directors letting the actors’ talking heads do all the work. Dominic Brewer’s housebound Hamlet, bitter and depressed, for example.  Others use everyday technologies to do something flashier: Tricia Adele Turner’s Hermione (The Winter’s Tale) is an Essex girl in a clip that combines social media with reality TV – some kind of commentary here, that these ‘celebrities’ are awarded almost royal status, perhaps?  David Haydn’s Titus Andronicus is a deliciously horrific vignette of grisly, suburban revenge.

We get a Benedick taking his daily exercise in the park, Macbeth’s porter receiving a welcome delivery of toilet rolls, and there are a few facetime calls along the way.  All human life is here, certainly as experienced over the past few months in quarantine.  Taken as a whole, this collection is a chronicle of the present, seen through the prism of Shakespeare.

Producers Aaron Sidwell, Hal Chambers and the Barn Theatre are to be applauded for this inventive body of work.  I’m sure they’ll forgive me if I don’t stand on my doorstep to do it.

The-Cast-of-Bard-From-The-Barn

See for yourself by clicking HERE!