Crowning Achievement

TAMBURLAINE

The Swan Theatre, Thursday 30^th August, 2018

 

Christopher Marlowe’s epic drama was an innovation in its time, and a major breakthrough in the use of blank verse in the theatre.  Michael Boyd’s production, which adapts the two-parter into one three-hour-or-so piece, clearly shows how Marlowe’s work is a kind of prototype for Shakespeare’s early history plays, which were to appear soon after.  Where Will outdoes Kit is in terms of plot development and structure, as well as depth of character – but that’s an essay for another forum.

As the eponymous despot, Jude Owusu gives a commanding performance, breathing life into the lyrical passages Marlowe puts in his tyrant’s mouth, mastering the verse and making it a pleasure to hear.  Owusu adopts high status from the off, even with Tamburlaine’s lowly beginnings as shepherd-turned-brigand.  The play charts the upward course of his career and the inexorable spread of his domination of the Middle East and beyond.  Owusu has the pent-up power of a big cat and his smiling eyes add menace to his pronouncements.  It’s compelling stuff albeit a bit one-note; there is, however, a powerful scene in which he expresses his grief for his dead queen – perhaps the only moment where we feel empathy for this monstrous man.

As said queen, Zenocrate, blonde Rosy McEwen is clad all in white to contrast with the black clobber of Owusu – opposites attract, I suppose!  McEwen brings regal vulnerability to the piece, although I can’t pinpoint when she transitioned from royal hostage to loving wife.

The company is a strong one – mainly men putting themselves about.  Mark Hadfield leavens the machismo by bringing touches of humour to his portrayal of Persian king Mycetes and other roles later on.  David Sturzaker plays it straight as his brother Cosroe, while good use is made of James Tucker as Meander, a lord who is more of a civil servant.  Sagar I M Arya is highly dignified as captured Emperor of the Turks, Bajazeth, while Zabina, his other half, goes from haughty pride to vengeful desperation in a striking performance from Debbie Korley.  I also enjoy Tamburlaine’s henchmen, Usumcasane (Riad Richie) and Techelles (David Rubin).

For the most part, the bloodletting is stylised, with characters on their way out, daubed with red courtesy of a paintbrush dipped in a bucket – although emptying the bucket over someone in a cage brings flashbacks to Saturday morning television of my salad days (yes, this is a TISWAS reference)  There are more graphic moments, such as the excision of someone’s tongue as Tamburlaine silences criticism (rather than merely mewling ‘Fake news!’) but the mass slaughters are kept off-stage, evoked in our imaginations by Marlowe’s descriptions.

Hugely watchable and effective though this production is, I come away a little unsatisfied.  This tyrant is not a tragic figure brought down by a fatal flaw in his nature.  We get no sense of a good man gone bad or the glimmer of redemption turned awry.  I suppose this history of empire-building appealed more to the play’s original audience, who would have revelled in the catalogue of kingdoms chained to Tamburlaine’s yoke and his growing collection of captured crowns.  How different, how very different, from present-day news footage of our weak prime minister, trying to dance her way around Africa in the hope of securing trade deals, while Britain’s status on the world stage plummets for no other reason than folly.

Hey, Mr Tamburlaine man! The mighty Jude Owusu (Photo: Ellie Kurttz)

A dream of a Dream

A MIDSUMMER NIGHT’S DREAM

New Alexandra Theatre, Birmingham, Wednesday 4^th June, 2014

 

Propeller’s first visit to Birmingham brings a double bill of Shakespeare’s Comedy of Errors and, the show I saw, A Midsummer Night’s Dream, giving the people of our second city the chance to see this all-male troupe bring their inventive and accessible takes on classic plays. Edward Hall is surely the most reliable director of Shakespeare – I have yet to see one of his takes on Will’s plays that I didn’t enjoy or admire. Here, he dresses his cast as street performers, pallid clowns or saltimbanques. They don bits of costume to identify them as main characters or otherwise blend into the chorus, flitting and running around in a swarm of activity. The aesthetic never obscures the action and the verse is spoken with clarity and emotion – I defy anyone to fail to be charmed and transported by the production. It’s also very funny.

Matthew McPherson is a pouting, petulant Hermia (and also doubles as Snug the Joiner) contrasting splendidly with Dan Wheeler’s taller and heartfelt Helena. There is a fantastically funny brawl between these two, helped and hindered by their bewitched boyfriends, Demetrius (Arthur Wilson) and Lysander (Richard Pepper). This scene was the comic highlight of the evening for me, outshining the Pyramus & Thisbe interlude, which I feel is a little too manic and overdone – However there is much to enjoy in Chris Myles’s Bottom. James Tucker is an elegant and haughty ‘proud Titania’ and Will Featherstone rounds out his Hippolyta, making her a character rather than an ornament for Theseus (an excellent Dominic Gerrard). The female roles are never impersonations or drag acts; the actors evoke femininity with gestures and attitude, while keeping their maleness apparent.

Joseph Chance is a merry, balletic puck in striped red and white tights and frilly tutu, while Darrell Brockis’s Oberon is the master magician in sparkling cloak, while David Acton’s impassioned Egeus memorably establishes the conflict that triggers the rest of the plot.

It’s a prouction that uses theatricality to bring out the magical aspects of the story, but the tricks and gimmicks are all in service of the script, proving yet again that Propeller is the go-to company for intelligent, effective interpretations that actually work as entertainment.