“O god that men should put an enemy in their mouths to steal away their brains”
Playing in rep with Twelfth Night at Highgate’s Upstairs at the Gatehouse theatre, Arrows and Traps’ Othello sees them take a slightly different approach to the tragedy, one which is closer to the way in which they reimagined Macbeth earlier this year. Modernised and musicalised, Will Pinchin’s movement plays a key role in the elegant tenor of Ross McGregor’s visually stimulating production.
Much less of an ensemble show than Twelfth Night, Othello offers an interesting contrast in featuring leading performances, even if they are somewhat uneven. Spencer Lee Osborne’s Othello is fascinatingly insecure which offers a route into his emotional journey, if not quite convincing that he could ever become a general. And Pippa Caddick’s Desdemona responds well to this intensity, playing up her innocence but never cloyingly so. Continue reading “Review: Othello, Upstairs at the Gatehouse”
“If music be the food of love then play on”
It may be music that feeds love according to Shakespeare but it is lust that drives Arrow and Traps’ interesting production of Twelfth Night, playing in rep with Othello at the Upstairs at the Gatehouse Theatre in Highgate. Sebastian and Antonio have been shagging for three months, Feste is pining for Maria, Olivia’s loins are thrustingly on fire for Cesario, Orsino and Cesario all but do it on the bed and on the floor – what country friends is this? Well it’s a most libidinous Illyria.
Ross McGregor’s production thus puts sex firmly on the table, a bold move and one which pays off in the first half, upping the stakes in familiar relationships and teasing insights into lesser explored ones. So whilst it is no surprise that Olivia and Orsino want to get laid, it’s good to see it acknowledged so explicitly for once. But it’s also intriguing to see the depth of Malvolio’s feelings for Olivia as shown here and to consider the dynamics of a homosexual relationship between Sebastian and Antonio. Continue reading “Review: Twelfth Night, Upstairs at the Gatehouse”
“Who could refrain that had a heart to love”
Theatre company Arrows & Traps came belatedly onto my radar with their rather stunning rendition of Anna Karenina earlier this year so I was keen to check out what they’d do next, which turned out to be Macbeth in the similar black box space of the New Wimbledon’s Studio. Adapted and directed by Ross McGregor, this modern Macbeth continually builds on its interesting choices to deliver a final 10 minute sequence that is as achingly affecting as any version of the play I’ve ever seen.
And they are strong choices for the most part too. Arrows & Traps’ commitment to gender equality sees them offer up a company that has 6 women to 5 men, casually flipping Duncan (Jean Apps) and Banquo (an excellently badass Becky Black) into female roles and having the witches double up as murderers and soldiers. In some ways its a small thing but in others, it still feels radical; as pointed out, majority-female fight scenes as those seen here are few and far between. Continue reading “Review: Macbeth, New Wimbledon Studio”