Tag Archives: Michael Barry

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)

Great Danes

HAMLET

Crescent Theatre, Birmingham, Sunday 1st March, 2020

 

I’ve lost count of the number of Hamlets I’ve seen over the years, and a problem I have every time I go to see it again is its overfamiliarity.  It’s not just a question of knowing the plot; the entire script reads like Shakespeare’s Greatest Hits, with almost every line or phrase well-known and, more often than not, part of our everyday speech.  But I’m always interested to see a fresh approach that may shed new light on this most-often produced of plays.

Here, director Michael Barry opts for what he calls a film noir approach – the costumes by Jennet Marshall certainly have a 1950s feel – but apart from the odd burst of slinky saxophone and the occasionally well-placed spotlight, film noir is barely apparent.  Not that it matters; the minimal staging puts the performers at the forefront.  Played in traverse, the action is within reach, and this works very well for the more intimate scenes.  Unfortunately, the stage can be a tad overcrowded with members of the Elsinore court and these scenes can lose focus.  A courtly dance is a case in point, and it doesn’t help that the dialogue between Hamlet and Horatio is swallowed by the music.

That being said, this production has some moments of excellence.  Isabel Swift’s Horatio is a masterclass in how to deliver Shakespeare with clarity and emotion – Horatio’s grief at the end is almost palpable.  Robert Laird’s Claudius does a good job of becoming increasingly rattled as the action unfolds, and delivers a powerful moment alone, in torment and at prayer.  Graeme Braidwood’s Polonius is not so much the ‘foolish, prating knave’ Hamlet claims him to be but rather an austere father and efficient administrator.  Papa Yentumi makes for a righteous Laertes and Femke Witney’s Ophelia combines sweetness and ferocity in her mad scenes.  As Gertrude, Skye Witney needs to project more in her earlier scenes but in the emotionally charged scene in Gertrude’s bedroom, she really comes to life.  Bill Barry impresses as the Ghost of Hamlet’s Father, keeping things dispassionate and thereby otherworldly.

Inevitably, the production succeeds or fails with its Hamlet.  Here the Crescent is indeed fortunate to have the brilliant Jack Hobbis give his Prince of Denmark.  Hobbis is eminently watchable, and the show’s highlights are his soliloquies as he breathes new life into those well-worn words.  His Hamlet is mercurial yet for all his mood swings, he is never less than regal.

The play culminates in the rigged fencing match and this is staged very well, with an added frisson of excitement being so close to the front rows of the audience.  Michael Barry substitutes the last-minute arrival of Fortinbras with a reappearance of the Ghost and a repetition of the play’s opening line, which is an original and effective touch.

Yes, it’s a bit patchy but the stronger moments far outnumber the weak.  This is an accessible Hamlet, whittled down to a bum-friendly two-and-a-half hours, held together by a charismatic lead performance and strong support from the main players.

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Sweet Prince: Jack Hobbis as Hamlet (Photo: Jack Kirby)


Table Talk

THIS HAPPY BREED

Crescent Theatre, Birmingham, Sunday 7th July, 2019

 

Noel Coward’s play from 1939 deals with two decades in the lives of the Gibbons family of Clapham in the turbulent years between the Wars – except of course they didn’t know they were between Wars at the time.  We see the events of their lives – weddings, affairs, arguments, celebrations, some of them affected by what’s going on in the wider world – and each scene jumps forward in time.  In this respect, the play reminded me of recent TV series, Years and Years, which does much the same thing, except of course the series is futuristic and the Coward play is retrospective.

At the centre of the set is the dining table, the heart of the house and the forum for family life.  Family members gather for tea, or something stronger, and it’s here that views and opinions are aired and sparks fly.  Top of the bickering parade are Amy Findlay as hypochondriac Aunt Sylvia and Skye Witney as cantankerous grandmother Mrs Flint.  The barbs fly freely; Coward’s dialogue for this lower-middle or upper-working class family is now rather dated, don’t you know, I should say, and no mistake, yet the cast deliver it with authenticity to match the period furnishings and the superlative costumes (by Stewart Snape).

As the Gibbons daughters, Emilia Harrild is in good form as dissatisfied, snobbish Queenie, with Annie Swift equally fine as down-to-earth Vi.  Griff Llewellyn-Cook makes an impression as handsome, ill-fated son Reg, with a strong appearance from Sam Wilson as his firebrand friend Sam Leadbitter.  Wanda Raven is spot on as Edie the maid, to the extent that you wish Coward had written a bigger part.  Simon King plays neighbour Bob Mitchell with truth – especially in his drunken scenes! – and Hannah Lyons is sweet as Reg’s girlfriend Phyllis.

It’s a fine cast indeed but the standouts are Jenny Thurston as the upright and unyielding Ethel Gibbons, the marvellous Jack Hobbis as sailor boy-next-door Billy, and the mighty Colin Simmonds as genial patriarch Frank Gibbons.

Director Michael Barry has the cast fast-talk the dialogue, adding to the period feel of the production.  The comedy has its laugh-out-loud moments, while the more dramatic scenes have the power to shock and to move.  It may be a play about a bygone era, but we can recognise the feeling of living in uncertain times as this country faces unnecessary damage, not from war but from Brexit, and the world teeters on the brink of disaster thanks to climate change.  Frank’s view that it’s not systems or politicians to blame for our ills but it all comes down to human nature strikes me as somewhat complacent, an attitude we can ill afford.

The play reminds us of what has been lost from family life: the gathering at the table, which was first usurped by the television and has now been superseded by the individual screens everyone peers at.  Progress isn’t always a good thing.

A thoroughly enjoyable, high quality production to round off what has been an excellent season at the Crescent.

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Frank and Ethel (Colin Simmonds and Jenny Thurston) Photo: Graeme Braidwood


Spell Trouble

MACBETH

Crescent Theatre, Birmingham, Tuesday 31st October, 2017

 

Karen Leadbetter’s strong production takes us to feudal Japan rather than medieval Scotland.  The witches are like vengeful spirits from horror films – in fact, they become increasingly eerie as the action unfolds.  There is more to them than their doll-like exterior.  Dewi Johnson’s excellently researched costumes evoke period and place.  It is a pity then that the approach is not consistent.  Jarring elements, like Fleance’s flashlight and the occasional handgun, are at odds with the rest of the aesthetic.  Plus, if Macbeth has access to firearms, why bother fighting with sticks and knives?

I quite like gender blind casting – here, Duncan’s Scotland boasts an equal opportunities army and Malcolm and Donalbain are referred to as his daughters.  Fine, but when Malcolm spouts about becoming King, language gets in our way.  Perhaps the gender neutral ‘Ruler’ might suit better.

These quibbles aside, this is an accessible and effective production where most of the ideas work very well.

Michael Barry’s Duncan is a joy to behold, combining a regal air with strength and benevolence; it is a pleasure to hear him speak the verse and breathe life into the words.  Naomi Jacobs’s wild-haired Lady Macbeth has her share of moments.  She doesn’t seem far from madness from the off and is utterly credible.  Personally, for her sleepwalking scene, I would have isolated her totally rather than surround her with the witches.  But that’s just me.

Charlie Woolhead’s Macbeth and Liam Richards’s Banquo at first come across more like schoolteachers or office managers than top notch warriors but by the time Woolhead gets to “If it were done, when tis done…” he has warmed up.  His handling of the soliloquies is particularly good – Macbeth’s unravelling sanity and his final defiance against the forces that have deceived him show us the man he must have been on the battlefield.  The murder of Banquo is handled well, thanks to fight choreography from Tom Jordan, Sam Behan and Gwill Milton, but the slaughter of Macduff’s Mrs and sprogs is disappointing as they are herded off stage at gunpoint.  I’m not (all that) bloodthirsty but we need to be shocked by butchery at this point to show us how low Macbeth will go.

Among the hard-working and competent company, a few stand out.  Khari Moore’s Ross looks at home in this world and sets the right tone.  It seems everyone gets to hug him – I start to feel left out!  Brendan Stanley works hard to make the Porter scene funny – Shakespeare’s knock-knock jokes are barely comprehensible to today’s casual listener but Stanley gets more than a few laughs out of us.  Matthew Cullane makes a strong impression as the Bleeding Captain, spouting exposition at the start, and also as the doctor later on.  Leadbetter’s cast sound like they understand what they’re saying which is a great help to the audience.

Christopher Dover makes a strong Macduff, towering over the rest and his grief seems heartfelt.  Liz Plumpton’s Malcolm speaks with clarity and in earnest but is perhaps a little too sure of herself.  I get the feeling she could sort out Macbeth with a stern telling-off.

Kevin Middleton’s lighting keeps things murky for the most part; the atmosphere is augmented by some eerie sound effects from Roger Cunningham, although I question a couple of choices for music cues: the witches’ dance seems at odds with the rest of the show.

Overall though, the production demonstrates that Shakespeare’s bloody thriller still has power to grip.  Well worth seeing, the show weaves a spell of its own.  The final image (SPOILER ALERT!!) of the witches and their familiars holding the traitor’s head and then looking directly at the audience packs a wallop.

A golden rule of theatre is if you have guns on stage, you better use them.  I suppose in this Japanese-influence production, it’s merely a show gun…  I’ll add another rule: the creepy laughter of children is more chilling if used sparingly.

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You need hands… Charlie Woolhead as Macbeth (Photo: Graeme Braidwood)