Tag Archives: Amanda Harris

Shrewd Moves

THE TAMING OF THE SHREW

Royal Shakespeare Theatre, Thursday 2nd May, 2019

 

Gender-swapping is all the rage in theatre these days but if there’s a play where changing the men to women and vice versa actually makes a point about the world we live in, it’s this one, Shakespeare’s not-so-romantic comedy about conformity to gender roles.  The setting is a matriarchy, instantly conjuring memories of The Two Ronnies and their Worm That Turned series.  While that show was about revolution, Shakespeare’s is about moulding the individual to comply with societal norms.  Both, I think, show the limitations of expecting as gender to behave in a certain way.  Unlike The Two Ronnies’ serial, which was set in a dystopian future, this production is set very much in the 1590s and things are ticking along nicely, thank you, with women, mature women, ruling the roost as captains of trade and industry.

Baptista Minola (a strident Amanda Harris) is trying to marry off her sons.  The one is sweet and lovely (and hilarious – beautifully played by a hair-tossing James Cooney); the other is aggressive and ferocious – but these women are not cowed by such masculine outbursts, mainly because in their world, such displays are exceedingly rare.  ‘Kate’s tantrums are perceived as an individual’s aberrations, rather than the way that men carry on in general.  As Katherine, Joseph Arkley is both a commanding and an appealing presence.  He is a stallion to be broken, a hound to be brought to heel, a direct contrast to the effeminacy prevalent in other men, for example Richard Clews’s camp old retainer, Grumio.

The woman for the job is Claire Price’s wild-haired Petruchia, all gusto and caprice – it’s OK for women to have their norm-stretching eccentricities, of course.  Well up for a bit of ruff, Price is delightfully unpredictable and very funny.  In fact, the production is riddled with funny women.  There’s a joyous double act: Emily Johnstone’s Lucentia and Laura Elsworthy’s Trania – the latter a real hoot when disguised as a noblewoman.  Sophie Stanton’s Gremia glides around as though on wheels, while Amy Trigg’s Biondella, actually on wheels, darts around, adding to the farcical elements of the action.  There is an elegant turn from Amelia Donkor’s Hortensia.  This Padua is more like Cougar Town, with women of a certain age eyeing up the young male totty.

There’s a vibrant, gorgeous score by Ruth Chan and sumptuous period costumes by Hannah Clark.  Director Justin Audibert keeps the staging traditional – apart from the gender-swaps – and it works brilliantly.  A finely-tuned ensemble keeps the laughs coming and the gender-swaps cast new light on what can be a problematic piece for present-day audiences.  Inversion puts the status quo in the spotlight, and we see how ludicrous it can be to expect individuals to tailor their conduct to adhere to one end of the spectrum or the other.

There’s a lightness of touch to the whole enterprise, so don’t dread a sociological treatise.  This is a hugely enjoyable, refreshing take on a classic that works beautifully.  Wonderful.

The Taming of the Shrew production photos_ 2019_2019_Photo by Ikin Yum _c_ RSC_275034

Joseph Arkley and Claire Price (Photo: Ikin Yum)

 

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Troying Times

TROILUS AND CRESSIDA

Royal Shakespeare Theatre, Stratford upon Avon, Thursday 8th November, 2018

 

Gregory Doran sets his production of Shakespeare’s Trojan War story in a post-apocalyptic, Mad Max-type world – although we have to wait a considerable while for the action and excitement associated with the genre when we finally get to climactic scenes of armed combat.

Here, leather-and-denim-clad women are as likely to be butch warriors as the men, and so we get Suzanne Bertish’s shock-haired Agamemnon, Amanda Harris’s fiery Aeneas, and the mighty Adjoa Andoh’s wily Ulysses.  There is a humorous tone to the piece that Doran tends to emphasise, as Shakespeare satirises the supposedly heroic figures, but the production’s Achilles heel, if you will, is its lack of emotional attachment.  It looks great and sounds great but it does not grip or move.

Gavin Fowler makes an appealing Troilus, comical in his awkwardness and initially more of a lover than a fighter.  Amber James is fantastic as a stately Cressida, using a cool wit as a shield.  When she blurts out her love for Troilus, she immediately backpedals, unwilling to allow herself to experience or display her true emotions.  Even though the play is named for them, they are merely two characters among a host of many, and their story feels undeveloped.  As the go-between who, um, goes between them, Oliver Ford Davies is tremendously enjoyable as the doddering, overly attentive Pandarus.

Andy Apollo (yes, really) is an Adonis of an Achilles, striding and posing about the place with James Cooney’s sweet and boyish Patroclus at his side.  This pair of lovers is perhaps more tragic than the titular couple; when Patroclus is struck down, it provides a rare moment of empathy from us.

Andrew Langtree’s Menelaus would not be out of place in an Asterix book, while Sheila Reid’s grubby Thersites is like a dystopian Wee Jimmy Krankie (if that’s not a tautology).  Theo Ogundipe is a delight as thick-headed Ajax.

Original music by virtuoso percussionist Evelyn Glennie evokes the clatter and clang of battles we don’t get to see.  There are many things to admire and enjoy but as a whole, these things don’t amount to a hill of beans.  Shakespeare’s genre-defying play is notoriously difficult to pin down.  Doran’s funny, orotund and noisy production lacks depth.  It’s Troy without weight.  By the end of this loud but empty spectacle, I yearn for Tina Turner to come on and belt out We Don’t Need Another Hero.  It would be apt at least.

Troilus and Cressida production photographs_ 2018_2018_Photo by Helen Maybanks _c_ RSC _265416

Brought to heel: Andy Apollo as Achilles (Photo: Helen Maybanks)