I mean, just look at this absolute treasure trove of theatrical talent!
We are proud to announce the launch of THE MONOLOGUE LIBRARY, an audio love letter to the industry. #MonoLibrary is a FREE resource of over 100 monologues recorded by professional actors in isolation to celebrate, commiserate & share speeches that mean something to them now… pic.twitter.com/GuT7Y7wQ1q
It feels a bit of a shame that one of the centrepieces of the RSC’s Roaring Girls season is a play that doesn’t manage gender parity in its cast, even with some cross-gender casting. This may speak of the nature of Jacobean Theatre, for it is Webster’s The White Devilof which we speak here, but Maria Aberg’s reputation precedes her and so it was a little disappointing to see that the opportunity hasn’t been seized here – if not now, then when?
And though I’d heard such great things about this production, I couldn’t help but feel a little disappointed here. Part of lies in the play itself – I can’t deny that I just don’t really like it and though it is updated to the debauchery of the 1980s Rome club scene here, the messy chaos of the pursuit of naked self-interest that proves Aberg’s main focus dominates too much and often to the detriment of the storytelling. Continue reading “Review: The White Devil, Swan Theatre”
Much of the buzz about Secret Theatre was the fact that audiences are kept in the dark about what it is they are booking for, placing their trust in the hands of an adventurous company looking to shake up the way theatre is created and commodified in this country. It makes for an entertaining evening, especially at the start as one waits to find out where in the theatre we’re going to be, and what delights are in store.
As it was, I got to the end of Show 4 without having worked out much to be honest. The post-show information told me it was a play named Glitterland, an adaptation of John Webster’s The White Devil by Hayley Squires but not being a play I am familiar with, that proved of little assistance. In a densely woven plot, the striking aesthetic of the company – directed here by Ellen McDougall – takes you a long way but not quite far enough into a satisfying dramatic experience. Continue reading “Review: Secret Theatre 4, Lyric Hammersmith”
“In what a shadow or deep pit of darkness doth womanish and fearful mankind live”
Gemma Arterton may have the part of the willowy ingénue down pat inThe Duchess of Malfiat the Sam Wanamaker Playhouse just now but over in the earthier environment of the Bethnal Green Working Men’s Club, something much more radical is happening. Cover Her Face is a new version of John Webster’s 1613 work which relocates the play to the queer subculture of 1950s London, Malfi being the club at the centre of the scene, and third gender writer/performer La JohnJoseph its transgender Duchess.
Daniel Fulvio and Martin Moriarty’s reworking for Inky Cloak is a bold move but one which pays richly evocative rewards. The shifting of the narrative onto a trans focus possesses an aching urgency – JohnJoseph’s Duchess longing for love and marriage and the freedom to live as a woman, yet cruelly constrained by the conservatism of her two brothers – malevolent twin Ferdinand and the closeted Minister. Their uneasy arrangement is shattered though by arrival of the handsome Antonio. with predictably tragic consequences. Continue reading “Review: Cover Her Face, Bethnal Green Working Men’s Club”
Review the seat or review the play? Whilst I’d love to just focus onThe Duchess of Malfi, the experience at the newly constructed Sam Wanamaker feels so inextricably entwined with the level of (dis)comfort that comes from the seating and exacerbated by ticket prices that are best described as hefty and take little real account of the relatively restricted view many of them offer. It’s all very well for critics to dismiss such concerns when they’re not having to compromise on sightlines due to cost but it all adds up to a very real part of one’s theatrical experience.
So safe to say, I was hugely uncomfortable for large parts of the afternoon and bitter about the price I was paying for the privilege. But having been exhorted to go and see the play due to it being a decent piece of drama (and crucially far superior to Jamie Lloyd’s recent version which I loathed) I kept reminding myself that the tip was a good one. And it is impossible to deny that Dominic Dromgoole’s production is a strong one, well suited to the unique charms of this new theatrical space which is lit entirely by candles. Continue reading “Review: The Duchess of Malfi, Sam Wanamaker Playhouse”
“I account this world a tedious theatre, for I do play a part in’t ‘gainst my will”
Usual caveats and all that, this was an early preview of The Duchess of Malfithat I caught at the Old Vic, and so bear that in mind throughout. Positive comments on previews never seem to cause any controversy but without giving too much away about the direction this review (of a preview) will take, that is hardly likely to be the issue here. I have to say that for the first time, especially at a big theatre, I really felt like I was watching something in the middle of its creative process, that really was still trying to find its feet. Which I suppose is what some would argue the preview period is about but when ticket prices of up to £45 are being charged, it does feel a bit rich.
Marking Jamie Lloyd’s directorial debut at the Old Vic, this revival of The Duchess of Malfi was largely most anticipated by me for attracting Eve Best back onto the London stage (though Lloyd’s treatment ofShe Stoops To Conquer also quite whetted the appetite). Her Beatrice in the Globe’s Much Ado About Nothing really was one of those once-in-a-lifetime performances that I’ll remember for years to come, and so though it went against my natural instincts, I forked out for a good stalls seat (Row F) for this in anticipation of theatrical yumminess. What I got though was something else, a half-baked cake of a show with what feels like a set of serious misjudgements and lasted well over three hours.
This was first experience of The Duchess of Malfi (I’m choosing to skate over the Punchdrunk interpretation as little of it made any impact on me) and so I wonder how much of a difference that made for me. Upon being widowed, the Duchess takes a new lover, below her class, and marries him secretly as her two brothers, Ferdinand and the Cardinal, are determined to control her life and when they find out what she has done, during which time she has had 3 children by him (although how she got away with this I’m not entirely sure), they exact a chilling, oppressive revenge on her. Continue reading “Review: The Duchess of Malfi, Old Vic”
Though the temptation is strong, and the actuality may well prove so, I don’t think I will be catching quite so much theatre in 2012 as I did last year. I could do with a slightly better balance in my life and also, I want to focus a little more on the things I know I have a stronger chance of enjoying.