Tag Archives: Naomi Jacobs

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.

macbeth

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

 

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Austen Powers

SENSE AND SENSIBILITY

The Crescent Theatre, Wednesday 28th June, 2017

 

Jessica Swale’s adaptation of the Jane Austen novel whizzes along at quite a lick, condensing the action without cutting any of the important bits.  What couldn’t be clearer is the chauvinism of the age and the restrictions placed on women: they can’t inherit, they can’t go anywhere alone with a man – both of which are important plot points.  Mrs Dashwood and her daughters are dispossessed after her husband’s death and find themselves in reduced circumstances, swapping the family’s grand home for a little cottage near Exeter.  Suitors come calling, scandals come to light… On the surface, it’s a frothy rom-com but beneath it’s a biting social satire.  The wry wit of Jane Austen powers the exchanges and fuels the dramatic irony of the situations.

Karen Kelly makes a warm-hearted matriarch as Mrs Dashwood – her announcement of her husband’s death is strongly handled.  Naomi Jacobs is suitably restrained and fretful as the serious Elinor; Elinor is the ‘Sense’ of the title, ruled by her head; Marianne the ‘Sensibility’, ruled by her heart and her impulses.  Both are played well but I would like more contrast  between them.  Stephanie Cole’s Marianne who could do with being giddier or at least smiling more, especially from the off.  When reading poetry, she should really go for it.  Charlotte Upton, in a convincing portrayal as little sister Margaret, seems to embody both aspects of heart and head, in her childlike thirst for knowledge and honest reactions to events.

Thomas Leonard looks the part as the dapper Edward Ferrars, but could do with being a little bit more cut-glass in his delivery of Austen’s erudite dialogue.  Jacob Williams makes a pleasant Mr Willoughby, while James Lewis amuses as the sarcastic Mr Palmer.  Jordan Bird offers strong support as faithful servant Thomas but Adam Ragg’s Colonel Brandon is a particularly fine characterisation: the stiff-upper lip, the British reserve, the gentlemanly qualities.  Decency oozes out of him.

The evening belongs to Laura Poyner, superb in both her roles.  Provincial Mrs Jennings’s vulgarity and lust for life is in stark opposition to her snobbish Mrs Dashwood – her Fanny is a joy to behold.  The stage comes alive whenever Poyner is on and most of the cast is able to match her energy and commitment.

James David Knapp’s direction keeps the action clear in this stylish and slick production that should do well on its tour of other venues.  His original music is bittersweet and evocative.  Above all, the play serves as a showcase for the excellent costume team at the Crescent, with flawless and impressive work from Vera Dean, Pat Brown and Olivia Barnes.  Keith Harris’s simple yet elegant set: three period doorways among a landscape of books proves a versatile backdrop.

An enjoyable comedy of manners that brings a classic book to life in an accessible and entertaining way.

sense

Mrs Dashwood and her daughters. Stephanie Cole, Naomi Jacobs, Karen Kelly, and Charlotte Upton. (Photo: Graeme Braidwood)