“Lie down madam and legs apart
Now brace yourself for this may smart”
Helen Edmundson’s Queen Anne played a well-received run at the RSC the winter before last and it has now transferred to the Theatre Royal Haymarket for a summer season. It contains two excellent performances from Romola Garai as Sarah Churchill (stepping into the role created by Natasha McElhone) and Emma Cunniffe as the titular monarch and you can read my four star review for Cheap Theatre Tickets right here.
Running time: 2 hours 50 minutes (with interval)
Booking until 30th September
“I am the Angel Gabriel
‘And I’m the Queen of Sheba’”
I was pointed towards this DVD of the Young Vic’s version of The Nativity after failing to be impressed by either film version I watched a couple of weeks ago, and even if something is usually lost in the filming of theatrical work, David Farr’s adaptation of the story is proof positive of how effective the medium of theatre can really be. Designed for young people (but equally the young at heart), this physical, in-the-round production had me captivated and much more moved than either of the overly-literal films.
For this telling is conscious of the sense of wondrous magic that ought to accompany the Nativity story, the others failed in trying to make a credible world in which these events might have unfolded, this succeeds in recognising the power of just believing, no matter what it is one believes. So a beggarman turns into a glorious Angel Gabriel, the donkey carrying Joseph and Mary tells them a tale of wise King Solomon, the souls of the children massacred under Herod’s orders are given a beautifully bright future. Continue reading “DVD Review: The Nativity (Young Vic)”
“Praising what is lost makes the remembrance dear”
Whether considered a problem play or no, the fact that All’s Well That Ends Well is performed relatively infrequently is testament to the inherent difficulties of the play. Helena’s relentless pursuit of a man who does not love her, her determination to have them betrothed, the way she later inveigles her way into his bed, the story is an uneasy tale to take in a world of more enlightened sexual politics and though Nancy Meckler’s production for the RSC, here in Newcastle for a week, shines a fantastical light on the play (although not as successfully as the National’s excellent Grimm-like version from 2009) I think the issue around its uncommon revival is more careful avoidance rather than criminal neglect.
Joanna Horton is good as the poor physician’s daughter who is adopted by the Countess of Rousillon yet finds herself falling in love with her ‘brother’, Alex Waldmann as a Prince Harry-inspired Bertram who soon heads abroad pretty sharpish. She follows him to the French court, winning the favour of the King by utilising her father’s knowledge and persuading him to offer Bertram’s unwilling hand in marriage as reward. Again he flees (this time to the battlefield) and again she follows, determined to get her man even if it means tricking him into bed and as one is meant to assume with the ginger Prince, combat has a maturing effect meaning that he allegedly becomes quite the catch and her doggedness is thus rewarded. Continue reading “Review: All’s Well That Ends Well, RSC at Theatre Royal Newcastle”
“I am that he, that poor unfortunate he”
As You Like It is one of those plays that I find hard to get too excited about since I feel like I’ve seen it a hundred times. And Maria Aberg’s production for the RSC came with the additional baggage of over-enthusiastic acclaim from certain quarters that usually leave me sceptical but when in Newcastle the same week as the RSC… As suspected, the Laura Marling soundtrack riled me, its folks stylings seeming somewhat faux for a reason I can’t really articulate without resorting to calling it smug. But in Pippa Nixon, it has a truly excellent Rosalind.
Set in a Glastonbury-inspired Forest of Arden, Nixon is startling as a genuinely androgynous figure once transformed, making the scenes with Alex Waldmann’s Orlando a thrilling experience in its gender-questioning ardour. And she’s a compelling presence throughout whether battling her fierce father or coaching her would-be lover in the school of romance. It all builds into a touching finale of nuptial bliss, which eventually wore down most of my scepticism, but I’m not entirely convinced that the setting works so well elsewhere. Continue reading “Review: As You Like It, RSC at Theatre Royal Newcastle”
“Brevity is the soul of wit”
I can’t say I wasn’t warned… Work has seen me up in the north-east for a few days this month and so coinciding with the RSC’s short residency at the Theatre Royal in Newcastle which sees one of their ensembles putting on the three shows from their bit of the summer season. And I’d been told that their Hamlet was a difficult beast but I wasn’t quite prepared for quite how awful I would find it.
David Farr’s modern(ish) take eschews star casting for the integrity of this ensemble, giving Jonathan Slinger the opportunity to take on this most celebrated of roles, but it is a chance they take so thoroughly by the horns with Slinger’s determination to put his own stamp thereon, it never feels real or organic, just a strained effort to be different. And at 3 hours 40 minutes, it is a lot to bear. Continue reading “Review: Hamlet, RSC at Theatre Royal Newcastle”
“Here’s a snip and nip and cut and slish and slash”
Robin Norton-Hale has been responsible for reinvigorating (or even inventing) the genre of pub opera with the wildly successful La Bohème, followed up by Don Giovanni this year and now turns her hand to Shakespeare with this adaption of The Taming of the Shrew at Southwark Playhouse. The modernisation sees us located in 21st century Brixton, the train map in the programme guiding us through stations such as Mantua Hill, Old Naples Road and Milan House allowing the Italian place names to remain in situ. And in Cherry Truluck’s cluttered market stall design, there’s a raft of amusing little touches: Katherine is first seen reading Margaret Attwood, Hortensio woos in his music lesson with a rendition of Mad World, Grumio serves up microwaved lasagne for dinner and there’s a mobile phone gag which is still making me chuckle now.
But the updating is merely cosmetic in the final analysis, the text – although considerably trimmed and reshaped here – doesn’t really impose any new interpretative framework onto the play and so the problems that can be found remain, and in some cases are exacerbated. Times have changed (although some might say not enough) and so the story struggles to connect in the modern-day context: Katherine doesn’t need to get married and could strike out on her own whenever she wanted – the opportunities available now are worlds apart from the 17th century, the economic and social pressures just aren’t there and so the motivation behind her actions is not particularly evident in this production. Continue reading “Review: The Taming of the Shrew, Southwark Playhouse”