Tag Archives: Royal Shakespeare Theatre

Hooray! Henry!

HENRY VI: REBELLION

Royal Shakespeare Theatre, Stratford upon Avon, Saturday 7th May 2022

Shakespeare’s history plays – dramatized and fictionalised versions of real events involving real monarchs – inevitably these days draw comparisons with Game of Thrones.  Here there be no dragons, but there’s pretty much everything you’d expect in terms of loyalty and betrayal, honour and dishonour, treachery and rivalry, and power grabs galore.  There’s violence and gore, and even a mystical scene in which a severed head on a pole is consulted about the future.

Mark Quartley is the young king Henry VI, something of a weakling and therefore ripe for plucking from the throne.  There is no shortage of wannabe kings.  Chief among them is a deliciously wicked York (Oliver Alvin-Wilson) and the dashing Suffolk (Ben Hall).  Quartley is effective as the meek monarch; you will him to stand up for himself and when it finally happens, Quartley shows us the toll it takes out of the frail king.  Alvin-Wilson is hugely enjoyable – all he needs is a moustache to twirl, while Hall’s Suffolk has more range as a character.  When he meets his violent end, it’s hard to watch.  Director Owen Horsley uses suggestion as much as blatant gore, making for some very unpleasant but irresistible moments.

Minnie Gale is tons of fun as Margaret, Henry’s unfaithful queen, a vivacious, unconventional young woman who brings a whole new meaning to getting head from one’s lover…

Lucy Benjamin is powerful as Eleanor, the Duchess of Gloucester.  Though she be but little, she is fierce.  Oops, sorry, wrong play.  Her fellow EastEnders alumnus, Aaron Sidwell, is a treat as rebel and rabble rouser Jack Cade, with a cocky/Cockney swagger and a twinkle in his eye.  You expect him to call someone ‘Treacle’ at any moment.  Something the play demonstrates all too clearly is how the public can be manipulated by empty promises and stirring rhetoric.  It’s a nice touch to have the mob speak lines in perfect unison, showing how they are of one mind/brain cell.

Richard Cant is in excellent form as Uncle Gloucester, matched by RSC stalwart Paola Dionisotti as Cardinal Winchester, whose death scene is the best of the lot.

The huge cast comes and goes but the action is never less than perfectly focussed.  The simple staging (rostra and a medieval throne) are all that’s needed; the action is augmented by judicious use of projections on the chainmail backdrop: huge faces looming, and there’s a sequence when Cade and his rabble are roaming the streets, represented here by the corridors of the Royal Shakespeare Theatre.

Add to this, splendid historical costumes (such a relief they didn’t set the play at the time of the Cod War or on Mars or somewhere) and Paul Englishby’s superlative music, all mournful horns and stirring strings played live, and we’ve got a marvellous three-hours traffic on the stage.

I can’t wait to see the companion play next week!

☆ ☆ ☆ ☆ ☆

Mark Quartley as Henry VI (Photo: Ellie Kurtz)

WARS OF THE ROSES

Royal Shakespeare Theatre, Stratford upon Avon, Thursday 12th May 2022

The excellent ensemble is back with the companion play, continuing the story of England’s feeblest king.  This time there is even more running around, with the severed heads of various characters tossed around like so many basketballs.  Director Owen Horsley brings out the black humour of the piece at every opportunity to offset the grisly deaths and the heartfelt grief.  Oliver Alvin-Wilson’s York is even more enjoyable, the character being more rounded this time around.  His speech of grief for his murdered son and fury for the bloodthirsty Margaret (Minnie Gale being phenomenal again) is the most powerful moment of the first half.

New characters come to the fore.  Arthur Hughes as York’s son Richard, who becomes the Duke of Gloucester, gives a show-stealing performance and I cannot bloody wait to see him continue the role in Richard III in just a few weeks’ time.  Conor Glean’s Young Clifford, full of righteous vengeance and a Merseyside accent, and Ashley D Gayle as York’s eldest son, Edward, both make strong impressions.  Ben Hall, playing middle son George (later Clarence) also does a heart-wrenching grief-stricken moment.

The live video footage not only allows for two locations to share the stage, but also artfully frames the action: clever use of a child’s crown in the foreground while the child that wore it is being butchered makes the violence cinematic and symbolic.  Indeed, the only piece of furniture in the entire show is the gothic throne, the thing everyone is fighting over, while the ground it stands on is increasing ruined.

Richard Cant appears in an amusing turn as King Lewis (sic) of France, not quite going the full Allo, Allo! but in the vicinity.  Sophia Papadopoulos’s portrayal of the young and valiant Prince Edward is assured, so we’re shocked by his inevitable murder.  Lots of killings in this play, and plenty of exciting swordplay, thanks to fight directors Rachel Bown-Williams and Ruth Cooper-Brown.

It’s a time when first names were in short supply.  Everyone is either a Henry, a Richard, or an Edward, it seems, so it’s something of a relief when they start referring to each other by place names instead.  Who would have guessed that a Duke of York could turn out to be so troublesome?

A thrilling, visceral, funny, and moving production, with Mark Quartley’s conflicted king at its heart.  The three-hour run time flies by.

☆ ☆ ☆ ☆ ☆


Merry Wives of Wakanda

MUCH ADO ABOUT NOTHING

Royal Shakespeare Theatre, Stratford upon Avon, Thursday 24th February 2022

This new production of theatre’s greatest rom-com boasts an ‘afro-futuristic’ setting – obviously influenced by Marvel’s Black Panther film!  As a world unto itself, this ‘Messina’ works very well.  Jemima Robinson’s set design is simple but exotic, futuristic and  yet retro.  I especially like the little illuminated bulbous plants that border the stage, and the geometric shapes that predominate the setting.  This Messina is a bright and colourful place – which is supported by Melissa Simon-Hartman’s glorious costumes with their strong, solid hues and striking silhouettes, marrying African elements with sci-fi kitsch, in an eye-popping cavalcade of outfits.  This is a great-looking show.

It also sounds phenomenal, with original music by Femi Temowo, played live by an octet of musicians, including some luscious brass.  The jazz/funk/soul/old school R&B-infused score is irresistible and, mercifully, no one raps.  Which makes a refreshing change.  Album release, please!!

Director Roy Alexander Weise makes the script more accessible to a modern audience by updating some of the more archaic vocabulary.  Most of the substitutions hit their mark and get the point across, although uptight purists might squirm.

A strong ensemble cast populates the story of deception and fake news, but any Much Ado is only as good as its Beatrice and Benedick.  In the role of Beatrice, the witty wise-cracker, is Akiya Henry, giving a star turn in comedic acting.  Her word play is razor sharp and it’s matched by her physical comedy.  Henry’s energy is equalled by Luke Wilson as witty wise-cracker Benedick.  Wilson exudes warmth in his portrayal; this Benedick is not only a funny man but a good man too, someone you’d like to know and drink with,

Don Pedro is presented here as Don Pedra, a princess.  The pedant in me wants to scream ‘Shouldn’t that be Donna Pedra?’ but I don’t, because I don’t want to be ejected.  The gender swap allows for a bit of LGBTQ+ inclusivity, which works very well, and Ann Ogbomo is marvellous in the role, embodying a spirit of fun and of (misguided) indignation.

Mohammed Mansaray’s Claudio really comes to life in the church scene, rising to his big moment.  It’s hard not to dislike Claudio in subsequent scenes but Mansaray wins us back when he shows Claudio’s devastation upon hearing the consequences of his actions.

Which brings me to Hero, played by Taya Ming, who invests the role with feistiness and fire, reminding us that Hero is a close relative of Beatrice and not the simpering good girl that she is sometimes shown to be.

Kevin N Golding’s Leonato is just about perfect.  Golding calls at all the stops on the character’s emotional journey and nails every one.  Even though he looks like a Time Lord in a disco wig, he has tears springing to my cynical old eyes more than once.

Also enjoyable are Karen Henthorn’s pompous, Northern Dogberry and the Watch, whose bumbling and malapropisms contrast nicely with the erudite banter of their social ‘betters’.  Here the costumes are their most sci-fi comic book, adding to the fun.

As the villain of the piece, Don John the Bastard, Micah Balfour is deliciously anti-social in this party atmosphere.  Balfour relishes the nastiness and vindictiveness, and therefore so do we.  If only his snazzy boots didn’t squeak so much when he walks!

This is an exuberant, heart-warming, rib-tickling, tear-jerking production of a play that demonstrates that the writer bloody knew what he was doing.  Moments of high (and sometimes low) comedy flip and become intense scenes of powerful drama and, like the plotters in the story, Shakespeare makes us fall in love with Beatrice and Benedick.  Weise’s direction does a bang-up job of delivering these tonal changes effectively, to create a supremely entertaining piece that packs an emotional wallop or two.

One of the reasons I love Much Ado so much is because it reveals something about the playwright’s character, the unknowable Mr Shakespeare who is absent from his other works.  The play shows that without doubt Old Bill was a very witty fellow.  You can’t write Beatrice and Benedick if you don’t possess their sense of humour.  He must have a been a right hoot at parties.

☆☆☆☆☆

Much Afro About Nothing: Mohammed Mansaray, Kevin N Golding, and Taya Ming.
Photo by Ikin Yum (c) RSC

Elephant in the Room

THE MAGICIAN’S ELEPHANT

Royal Shakespeare Theatre, Stratford upon Avon, Wednesday 10th November, 2021

It’s fantastic to be back in the RST, as it reopens with this year’s big family show, based on the Kate DiCamillo novel. Young Peter Duchene visits a fortune teller who intrigues him with a reading involving his presumed-dead sister and an elephant. Next thing you know, an elephant is dropping through the roof of the opera house in a conjuring trick gone wrong—don’t you just hate it when that happens? Peter sees this event as a sign that his entire life has been a lie and sets out to face the elephant and learn the truth…

Holding things together is Amy Booth-Steel as an affable Narrator, breaking the fourth wall with such charm we don’t want to sue her for the damage.  A strong ensemble includes delightful turns from Forbes Masson as a tightly wound, paranoid Police Chief, his underlings tumbling around him like Keystone Kops; Marc Antolin and Melissa James evoke empathy as childless couple Leo and Gloria; Sam Harrison’s fruity Count; Alastair Parker’s bumbling magician; Miriam Nyarko’s energetic orphan Adele; and Mark Meadows as Peter’s guardian, former soldier Vilna Lutz whose PTSD is startling, to say the least.

Villain of the piece is the mighty Summer Strallen’s Countess Quintet, who gets the most outlandish costumes.  Strallen channels Queen Elizabeth from Blackadder II and Cruella de Vil, with shades of Mozart’s Queen of the Night in her decorative vocal work.  It’s a stonking characterisation.

The Elephant itself is from the War Horse school of puppetry, with three operators bringing life to the pachyderm.  The scale of the beast is impressive but more so is the way it ‘lives’; there is grace to this animal and sorrow.  There is undeniably an elephant in the room with us.  It’s a captivating creation, skilfully performed by Zoe Halliday, Wela Mbusi, and Suzanne Nixon.

Giving a phenomenal performance as protagonist Peter is the elfin-featured Jack Wolfe, giving the role a quirky youthful energy, who is nothing short of perfection.  Instantly endearing, Wolfe is a true knockout when he sings, demonstrating beautiful vocal control and an impressive range.  You get the feeling you’re watching someone who is going to become a massive star.

With book and lyrics by Nancy Harris, and music and lyrics by Marc Teller, the show captures the tone of DiCamillo’s wonderful book. Colin Richmond’s design work delivers the grim, grey city of Baltese, with atmospheric lighting by Oliver Fenwick. It’s Sarah Tipple’s direction that makes us identify with, laugh at, and feel for the cast of offbeat characters, playing the humorous notes broadly and the emotional points deftly. The score is reminiscent of Sondheim and Gilbert & Sullivan and is performed by a tight band under the musical direction of Tom Brady.

It all adds up to a hugely entertaining piece, that speaks to us of people in strange times looking for answers (and not always in the right places), of hope, of the things that unite us rather than those that divide.

Beautiful.

★★★★★

Trunk Call: Peter (Jack Wolfe) visits the Elephant. Photo: Manuel Harlan © RSC

Dress To Impress

THE BOY IN THE DRESS

Royal Shakespeare Theatre, Stratford upon Avon, Monday 16th December 2019

 

I have seen quite a few stage adaptations of David Walliams’s bestselling children’s books, ranging from rather good to brilliant.  This musical one, with script by Mark Ravenhill, lyrics by Guy Chambers, and music by none other than Robbie Williams, is the RSC’s bid to match the success of its Roald Dahl-meets-Tim-Minchin megahit, Matilda (which is still running in the West End a decade later).

This is the story of Dennis Sims, who feels different in a world of ordinary people.  His mum has walked out, leaving Dennis with his older brother John, and their Dad, who can’t cope, handle emotion, or serve proper meals.  Everything changes when Dennis is irresistibly drawn to a copy of Vogue magazine at the local newsagent’s; he teams up with local stunner Lisa James and before long he’s venturing out, dragged up as a French exchange student, complete with wig, beret, and a gorgeous orange sequinned dress.  Controversy is not far behind, jeopardising Dennis’s education and (seemingly more importantly) his place on the football team.

Playing Dennis tonight is the stunningly magnificent Oliver Crouch, who sings like an angel (not a cue for an old Robbie track), shows impressive range as an actor (I’m in tears ten minutes in) and whose dancing would have the Strictly judges adding extra zeroes to their ’10’ paddles.  Honestly, I have never seen a better performance from a child star, and Crouch continues to amaze as the show goes on.  A stellar, heartfelt and funny performance.  He will knock your frocks off.

The second time I well up with tears is when Dennis puts on the orange dress for the first time.  It is a moment of revelation, transformation and self-acceptance, building to an all-out discoball drag number that is absolutely joyous.

Rufus Hound pitches the depressed Dad perfectly – the third time the tears are wrung from me is his eventual acceptance of his remarkable son.  Natasha Lewis is an absolute hoot as Darvesh’s embarrassing mother, and Irvine Iqbal is a real treat as newsagent Raj (a character who features in every David Walliams book I’ve come across).  Max Gill’s Big Mac is a study in infatuated schoolboy nervousness, while Alfie Jukes finds a balance between oafishness and affection as Dennis’s big brother John.  Asha Banks shines as schoolgirl stunna Lisa James, and the mighty Forbes Masson storms it as the gleefully hateful headmaster Mr Hawtrey (the characters share surnames with Carry On actors).

The score is marvellous, catchy and tuneful, and is Williams’s best work.  Take that, Gary Barlow!  Ravenhill’s adaptation brings the book to life, with tweaks rather than changes, adding topical references to update the action to today.  Robert Jones’s design maintains a colour palette restricted to mainly greys and blues (so that Dennis’s orange dress really ‘pops’) and the set consists of movable houses that open up to provide interiors, wheeled around by the cast.  Gregory Doran’s direction delivers all the emotion and humour of the story – the football matches, for example, are inventively and hilariously staged.

It’s a joy from start to finish, tickling your funny bone and tugging at your heartstrings, and it makes me think how bloody daft it is that we impose gender norms on the way people dress.  “Everyone should be able to wear what they want,” asserts Lisa James.  You go, girl!

A great story, brilliantly presented, that looks like it could match Matilda for longevity – it certainly deserves too.  And Oliver Crouch must have a glittering career ahead of him, and I don’t necessarily mean on RuPaul’s Drag Race.

The Boy in the Dress production photos_ 2019_2019_Photo by Manuel Harlan _c_ RSC_299317

Masterful: Forbes Masson as Mr Hawtrey. Photo by Manuel Harlan (c) RSC copyright

 

 


Ah, Vienna…

MEASURE FOR MEASURE

Royal Shakespeare Theatre, Stratford upon Avon, Wednesday 7th August, 2019

 

Some people label this a ‘problem play’ and I have a problem with that.  What it is is a dark comedy that deals with issues of morality.  Here, director Gregory Doran has for the most part a light touch, so the comedy has the upper hand over the darkness.  It’s definitely a production of two halves, the first setting out the stall so the circumstances of Isabella’s dilemma are established.

In what is basically the first-ever episode of Undercover Boss, the Duke leaves town, putting pasty-faced Slytherin alumnus Angelo in charge, but comes back disguised as a friar to observe how things turn out.  Angelo instigates draconian laws to punish the immoral.  Pretty soon, Claudio is condemned to death for impregnating his fiancée, and his sister Isabella, a novice nun, is called in to plead for clemency.  Angelo takes a fancy to the novice, in a Captain Von Trapp meets Maria kind of way and makes an indecent proposal.  If Isabella will sleep with Angelo, he will pardon her brother.  Which was will Isabella jump?  It takes the machinations of the Duke-in-disguise to bring about a resolution and expose the hypocrisy at the top of Viennese society.

Stephen Brimson Lewis’s design establishes the show’s Viennese credentials from the off; it’s the Vienna of Strauss.  There are waltzes – everything but Viennese whirls, dancing horses and Midge Ure.  The set is sparse, with projections to establish locations and mirrored panels across the back wall, reflecting the audience back at itself – a mirror to society, get it?

More familiar to me for tragic, heroic roles, Antony Byrne is having a lot of fun as the Duke, throwing his weight around and keeping us in on the joke.  The Duke’s plotting may seem a little cruel, especially when he makes Isabella believe her brother has already been beheaded, but then this is a play about men’s treatment of women.  Doran gives us a delicious final image, when it dawns on Isabella that having escaped the clutches of one man who wanted her against her will, she is in the grasp of another, and never mind what she wants out of life.

As Isabella, Lucy Phelps is the emotional heart of the piece and gives a powerful, compelling and likeable performance.  I have seen Isabellas too up themselves to be sympathetic but here Phelps pitches everything right.  Sandy Grierson’s Angelo starts as a cold fish, struggling to repress his baser urges before being exposed as a massive hypocrite worthy of any Tory cabinet.

James Cooney makes an appealing Claudio, while David Ajao’s West Indian accent augments the comedic aspects of Pompey the pimp-turned-executioner’s assistant.  Amanda Harris gives sterling character work as the Provost, and, in their brief appearances, Graeme Brookes and Michael Patrick make strong impressions respectively as Mistress Overdone, the local madam, and Constable Elbow, a kind of prototype Dogberry, complete with malapropisms.  Claire Price is an earnest Escalus and Patrick Brennan a creepy Abhorson the executioner, but for me the man of the match is Joseph Arkley as the dapper Lucio, who is positively hilarious throughout.

Paul Englishby’s score is sumptuous and the second half begins with a plaintive song sung sweetly and with emotion by Hannah Azuonye that is brought to an end much too soon!   I could do with more of this!

The second half lets broad comedy take the lead and the action moves on apace, with enjoyable appearances from Graeme Brookes’s Black Country Barnardine, and the contrivances of the plot keep on the right side of credible (just about).

More fun than I was expecting, this is a Measure that speaks to us today.  Strict, moralistic statutes only lead to increased hypocrisy and division between lawmakers who break their own laws and the rest of us who fall foul of prohibition just for being human.

Measure for Measure production photos_ 2019_2019_Photo by Helen Maybanks _c_ RSC_286285

Antony Byrne as the Duke/Friar (Photo by Helen Maybanks (c) RSC)


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)

 


As You Lump It

AS YOU LIKE IT

Royal Shakespeare Theatre, Stratford upon Avon, Wednesday 27th February, 2019

 

The plot of this rom-com from Shakespeare is bunched up at either end of the play.  A lot happens in the opening scenes – even a wrestling match – but when characters become exiled from the dukedom, the story line goes for a meander through the Forest of Arden, branching out into subplots about various pairs of lovers, until our protagonist Rosalind, seems to realise we’ve reached Act V and decides to pull all the threads together for a resolution.

The opening scenes are fine, with Anthony Byrne’s menacing, paranoid Duke Frederick ruling the roost.  David Ajao is an embittered and angry Orlando, disenfranchised by his weaselly brother Oliver (an excellent Leo Wan) but Orlando softens when the surprise of his victory (sorry if that’s a spoiler) against the Duke’s in-house wrestler Charles, is topped by his surprise falling in love with Rosalind at first sight.  Graeme Brookes’s Charles is more of a besuited bouncer – Frederick runs his realm like some kind of underworld boss, and Emily Johnstone is also good fun as Le Beau, tottering across the grass in her high heels and Krystle Carrington hairdo.

Lucy Phelps is a hugely appealing Rosalind, but I find Sophie Khan Levy even more so as her good-time gal cousin, Celia.  And so, I am liking this As You Like It

Then we get to the forest.

In a startling moment, director Kimberley Sykes flips the production on its head – much as the characters’ lives are turned upside down – and, taking the words of Jaques as a game plan, shows us that all the world is indeed a stage.  Sykes’s Arden is a bare stage with costume rails wheeled on, where lighting cues can be summoned by characters at the click of a finger.  It’s a bold move, and a valid one, except I am no longer with the characters on their journey.  I am, like Celia, Aliena-ted, and kept at a distance.  It’s a case of the concept working against the content.  With new characters coming and going as the subplot rattles along, I lack the attachment and investment one feels in say, a Much Ado, or a Twelfth Night.  Shakespeare gives us love in many facets in these scenes, but I find myself not caring.

Sandy Grierson is striking as Touchstone the fool, like a glam-rock Max Wall with a touch of Billy Connolly, but his love scenes are too aggressive.  He practically bullies lonely goatherd Audrey into a relationship (via the medium of British Sign Language, which adds another layer of humour to the scene).  Gender-swapped Jaques (Sophie Stanton) wanders about aimlessly, and I like the fluidity of Phoebe (Laura Elsworthy – very funny) who has set her sights on Rosalind as a boy, while being pursued by bright-eyed Silvia (Amelia Donkor) her earnest same-sex suitor…

At the moment when Rosalind effects a resolution, the scene is dominated by the arrival of a massive puppet, altogether too distracting I find.  In her epilogue, Rosalind invites us to ‘like as much of this play as please you’.  Unfortunately, the parts I do like are overshadowed by those I don’t.

As You Like It production photos_ 2019_2019_Photo by Topher McGrillis _c_ RSC_273380

Sophie Khan Levy and Lucy Phelps as Celia and Rosalind before they are ‘turfed out’ (Photo: Topher McGrillis (c) RSC)


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)


Young Blood

ROMEO AND JULIET

Royal Shakespeare Theatre, Stratford upon Avon, Wednesday 20th June, 2018

 

Erica Whyman’s new production of Shakespeare’s evergreen tragedy has a contemporary if abstract setting.  Her Verona is a place of rusting plate metal, with a multi-purpose construction at the centre, a hollow cube providing a raised level (the balcony) and an interior (the Friar’s cell).  It’s a stark and grim place against which the heightened emotions of the hot-blooded citizens are played out.  It’s a world of hoodies and sweatshirts, skinny-fit jeans – in fact, when it begins, the Prologue is shared by a chorus of youngsters and it’s all a bit performing arts college.  The casting is diverse and gender fluid, reflecting the UK today, supposedly, in order that youngsters coming to the play fresh will recognise themselves in the characters… What is unrecognisable about this on-trend milieu is the lack of mobile phones, the prism through which young people view the world and each other.

The design choices I can’t take to, but the acting is in general very good and in parts excellent.  Bally Gill’s Romeo is flighty and cocky – Whyman brings out the humour of him, so we take to him immediately, and he is more than a match for Charlotte Josephine as Mercutio, traditionally the ‘funny one’.  Josephine’s mercurial Mercutio is a ladette, with all the swagger and voice patterns of a cheeky teenage shoplifter on Albert Square.  It’s a very yoof-oriented performance, at odds with the accents and mannerisms of the rest of the gang.

Karen Fishwick’s Juliet has a Scottish brogue and is brimming with the youthful passion of a teenager in love.  She and Gill are a good match.  As Capulet, Juliet’s dad, Michael Hodgson is a little too staccato in his anger, while his Mrs (Mariam Haque) is steely-eyed and steadfast in her lust for vengeance.  Raphael Sowole is an imposing Tybalt – his fatal scrap with this Mercutio pushes the show’s fluid approach to casting to the limit, making Tybalt seem dishonourable in my view.  Later, he and other dead characters creep inexorably across the stage, like zombies playing Grandmother’s Footsteps – initially an effective idea but it becomes distracting from the main event at Juliet’s bier.

Andrew French is a wise and sympathetic Friar Laurence, but it is the magnificent Ishia Bennison who comes off best in a hilarious characterisation of the Nurse, perfectly delivering her sauciness, her garrulousness, alongside her deep-felt affection for Juliet.

There is much to enjoy and appreciate here, more than compensating for the decisions that don’t quite pay off.  Sophie Cotton’s original compositions are contemporary and atmospheric, and Charles Balfour’s starry lighting beautifies the industrial setting.

If the production does speak to the young members of the audience, perhaps it says something to them about knife crime and partisan gang culture.  To us slightly older others, it’s a strong rendition of an old favourite, with some hit-and-miss ideas, and some pulsating, bass-heavy dance music that can’t be over too soon.

Romeo and Juliet production photos_ 2018._2018_Photo by Topher McGrillis © RSC_248980

Karen Fishwick and Bally Gill (Photo: Topher McGrillis © RSC )

 


The Present Horror

MACBETH

Royal Shakespeare Theatre, Tuesday 3rd April, 2018

 

Polly Findlay’s production frames the action in a nondescript hotel or conference centre setting.  An expanse of blue carpet fills the stage, bordered by a walkway.  A water cooler gurgles upstage.  The sparse furniture smacks of corporate hospitality.  Fly Davis’s design certainly accommodates the banality of evil – Dunsinane as a low-budget chain hotel.  Findlay heightens the horror film aspects of Shakespeare’s tragedy: the witches are little girls in pink pyjamas, cradling dolls in their arms, their spells are singsong, like playground rhymes.  “Double double, toil and trouble” could quite easily be, “One, two, Freddie’s coming for you.”  Eerie though these kids are, they’ve got nothing on the Porter, the always-present Michael Hodgson, idly pushing a carpet sweeper.  He is more of an unsettling presence than comic relief, although he does get a few laughs.

David Acton is an excellent Duncan, whose throne is a wheelchair, signifying his physical vulnerability – with his murder (oops, spoiler!) the production loses one of its best actors.  Also strong is Raphael Sowole as Banquo, thoroughly credible and handling the blank verse with a natural feel.

Why then, with its jump scares, sudden loud noises and plunges into darkness, its scary movie sound effects and atmospheric underscore, does this production not grip me?

For once, the fault is in our stars.  Making his RSC debut in the title role is one of television’s most proficient actors, the ninth Doctor himself, Christopher Eccleston, no less.  Will he be able to bring his intensity, his charisma, his sensitivity to the stage?  Short answer: no.  Eccleston’s performance is highly mannered, coming across as though he’s learned the dynamics along with the lines: Say this word loud, Chris, speed this bit up… The result is it doesn’t sound as if he believes what he says and so we are not convinced.  Faring somewhat better is Niamh Cusack as his Mrs, but we don’t get the sense of her decline, we don’t get the sense that she is ever in control – she’s too neurotic from the off – and yet, when it comes to the sleepwalking scene, we don’t get the sense that she has lost it.

There are moments when the setting works brilliantly – an upper level serves as banqueting table, allowing for a kind of split-screen effect.  There are moments when it doesn’t: the pivotal scene between Malcolm (Luke Newberry) and Macduff (a becardiganed Edward Bennett) is like the Head Boy having a one-to-one with the Head of Year in his office.  And there are times when Findlay doesn’t push the horror (or the suggestion of horror) quite far enough.  The slaughter of Macduff’s family pulls its punches, and we don’t get to behold the tyrant’s severed head.

A timer ticks away the length of Macbeth’s reign and there is the implication that events will repeat themselves once young Fleance gets to work – along with the three creepy girls, of course.

This is a production with lots of ideas tossed into the cauldron and, while some of it works like a charm, the overall effect falls short of spellbinding.

Macbeth production photos_ 2018_2018_Photo by Richard Davenport _c_ RSC_245921

Screwing their courage to the sticking place: Niamh Cusack and Christopher Eccleston (Photo: Richard Davenport)