A MAD WORLD MY MASTERS
The Swan, Stratford upon Avon, Thursday 20th June, 2013
My first impression of this doctored version of Thomas Middleton’s Jacobean comedy, here updated to Soho in the 1950s, was that it is very similar to West End hit, One Man Two Guvnors, in terms of period and knockabout feel. I suppose what it really demonstrates is the unchanging nature of comic archetypes.
The language has been not-so-much updated as interfered with (in a knowing, oo-er Mrs kind of way) with modern-day interjections thrust into the play’s convoluted passages. Almost every line is a sexual metaphor of some kind. I didn’t know where to put myself.The cast handle whatever comes their way with relish.
It’s at first a celebration of human flaws and foibles, as certain characters set out to take advantage of others in a variety of means. Dick Follywit (Richard Goulding) can’t wait to inherit his uncle’s fortune and so he sets out to rob the old man by dint of disguise and confidence trickery. Goulding has something of a dynamic David Cameron about him (if you can imagine such a creature) – but don’t let that put you off. As his schemes unfold, it is with the old uncle that our sympathies lie. Ian Redford is marvellous as Sir Bounteous Peersucker, the victim of Follywit’s cons; he has peccadillos of his own, which make him ripe for exploiting. Scheming prostitute Truly Kidman (a superb Sarah Ridgeway) outdoes Follywit in the effectiveness of her deception. She dresses as a nun in order to facilitate a sequestered wife’s liaisons with her lover. That the wife is married to a Mr Littledick tells you all you need to know. Her lover is one Penitent Brothel, a name that conjures up the duality of the character. Played by the excellent John Hopkins, Brothel, having got what he wanted, repents of his lust and turns to self-flagellation instead, swapping one physical sensation for another.
There is much to admire in this strong company. Ishia Bennison delights as Truly Kidman’s mother and pimp; Richard Durden is a scream as “Spunky” the doddering old retainer whose hearing aids scream to herald his exits and entrances; Steffan Rhodri and Ellie Beaver as the Littledicks handle their broad comedy with aplomb, but my heart goes out to the hapless Constable (Dwane Walcott) perhaps the only innocent in the whole piece.
The production is riddled with contemporary music, some tunes more familiar than others. The cast have a go (Mrs Littledick’s Cry Me A River is poignant and apposite, Follywit’s number is less palatable – imagine the Bullingdon Boys doing Elvis) but most of the vocal stylings come from the sultry and soulful Linda John-Pierre. I could happily have listened to her all night.
Director Sean Foley masters his mad world with total assurance. The tampering with the text makes Middleton more accessible, demonstrating there is life in the old plots yet. The play is still about what it was always about: the eternal folly of man. The moral seems to be we should enjoy others being made fools of while we can – we never know when it’s our turn.
In the last act, there is a play-within-a-play (a ruse to mask a robbery) and Sir Bounteous remarks that the ‘actors’ “have made faces at us, laughing at ourselves.”
There’s a double meaning in that.
Penitent Brothel (John Hopkins) enjoys a Littledick (Ellie Beaver)
1 Comment | tags: A Mad World My Masters, Dwane Walcott, Ian Redford, Ishia Bennison, John Hopkins, Linda John-Pierre, review. Ellie Beaver, Richard Durden, RSC, Sarah Ridgeway, Sean Foley, Steffan Rhodri, Stratford upon Avon, The Swan, Thomas Middleton | posted in Theatre Review
The Swan, Stratford upon Avon, Tuesday 28th May, 2013
A box office hit in Shakespeare’s day, this Roman revenge tragedy packs more into its two-and-a-half hours than an entire series of The Jeremy Kyle Show. It’s got the lot: murder, betrayal, mutilation, rape, and of course revenge. It’s grisly, gory and gruesome, sordid, squalid and shocking. And it’s bloody funny.
Stephen Boxer is in the title role as a man already steeped in tragedy and grief: most of his 25 sons have been killed in the wars he fights on Rome’s behalf. The rest meet their doom pretty quickly. Two are framed and executed for murder. Another dies at Titus’s own hand in an almost casual neck-breaking scene. Life is rough in this supposedly civilised empire.
Titus sacrifices a son of captive Goth queen Tamora, setting in motion a tit-for-tat vendetta that escalates to a blood bath in the final scene. Katy Stephens is striking and strident as the queen with a grudge. Fierce and fearsome – you wouldn’t want to get on the wrong side of her. As with Boxer’s Titus, there is relish in the exacting of her revenge.
Titus’s brother Marcus (Richard Durden) is the calm voice of reason in the unfolding carnage. His scene with the mutilated Lavinia (Rose Reynolds) is very moving. Reynolds is the car crash you can’t help looking at. Her agonies are fascinating. With hands cut off and tongue torn out, she tries to smash and eat a boiled egg. Horror and pity vie for dominance in the spectator.
Kevin Harvey brings a Merseyside twang to the villainous Aaron; his malevolence is not quite matched by Tamora’s sons, two chavs in hoodies riding bicycles and waving knives around (Perry Millward and Jonny Weldon). You aren’t sorry to see them strung upside down, their throats slit and drained like pigs – This is the main theme of the piece. Justice has been usurped by vengeance. The punishments meted out on both sides could have been devised by the subscribers of certain Facebook pages.
Director Michael Fentiman sets his production in a sort of timeless, undefined space, using images we recognise from contemporary life and history. Cowled monks in black mingle with big-haired women in biker boots. The soldiers’ tunics combine the historical and the contemporary. The Emperor’s Italian suit is classic – John Hopkins’s Saturninus is an indulgent, immature figure, a comical bully.
I also liked Matthew Needham as Titus’s noble son Lucius but it is Boxer who dominates. His powerful grief turns to powerful madness before our very eyes. When it all kicks off at the end, when it is revealed that Tamora has been tucking into her own sons baked in a pie, when everyone jumps from their places at table and the bloodshed is a fast and furious free-for-all, it’s a cathartic release that brings about a swift resolution to what constitutes the worst (or best) episode of Come Dine With Me in history.
The Elizabethans were more accustomed to brutality in the streets and public executions and all of that kind of thing. This production shows us how we must guard against this violence and bloodlust. “Thou art a Roman,” Marcus admonishes early on, “Be not barbarous.”
Tamora (Katy Stephens) puts on the dog. (Photo: Simon Annand)
1 Comment | tags: John Hopkins, Jonny Weldon, Katy Stephens, Kevin Harvey, Matthew Needham, Perry Millward, review, Richard Durden, Rose Reynolds, RSC, Stephen Boxer, Stratford upon Avon, The Swan, Titus Andronicus, William Shakespeare | posted in Theatre Review