Full casting for Michael Boyd’s much anticipated production of The Cherry Orchard is announced today as rehearsals begin for the Bristol Old Vic and Royal Exchange Theatre co-production. Rory Mullarkey’s brand-new translation will be directed by Boyd, celebrated former Artistic Director of the Royal Shakespeare Company (RSC). Having studied Russian and trained as a director in Moscow, extraordinarily, he will be directing Chekhov – the literary love of his life – for the first time. Continue reading “Full cast announced for Michael Boyd’s The Cherry Orchard”
“I’ve never felt at home”
With Hedda Gabler, the ever prolific Ivo van Hove is making his National Theatre debut, so you can forgive him returning to a production which he has launched twice before – with the exceptional Dutch actress Halina Reijn in Amsterdam and with Elizabeth Marvel in New York. This time however, he’s working with a new version of Ibsen’s play by Patrick Marber and has the equally extraordinary talents of Ruth Wilson leading his company. And as with his revelatory A View From The Bridge, this is a contemporary reworking of a classic that will frustrate some with its froideur but left me gasping at its gut-wrenching rawness.
As ever, van Hove’s spatial intelligence lends itself to a re-appreciation of the theatrical space in which he’s working. He’s invited audiences onstage at the Barbican, and backstage too and here in the Lyttelton, the wings are closed off by Jan Versweyveld’s gallery-like white box and so characters make their entrances and exits through the same doors that we use – Judge Brack even arrives via the rear stalls at one point. And van Hove keeps things off-kilter onstage too, often pushing the action out to the far edges, focusing the eye on unexpected details like the eloquent sweep of Hedda’s back, the tapping foot of a nervy ever-watching Berthe. Continue reading “Review: Hedda Gabler, National Theatre”
“Well, that was a bit odd”
Sometimes, one knows from the first moments of a show that it just isn’t going to be your cup of tea. And so it was with the opening montage of Melly Still’s new production of From Morning to Midnight, a landmark of German expressionism apparently but for me, a hugely ambitious piece of stagecraft that indulges far too much overt theatricality at the expense of dramatic integrity. It is worth noting ‘twas a preview that I saw and one in which understudy Jack Tarlton had to step in for the injured Adam Godley in the lead role.
Georg Kaiser’s 1912 play uses an episodic form to tell the story of an everyday clerk who is jolted from the mundaneness of his existence when a sultry Italian wanders into his bank, inspiring him to seize the day and make a change to his dull family life. That he does by stealing 60,000 marks from the bank with the intention of eloping with this woman but when she rejects him, the clerk delves into a journey of the soul – both actual and metaphysical – that lasts for a day but feels like a lifetime. Continue reading “Review: From Morning to Midnight, National Theatre”
“There’s precious little else to do, the Devil supposed, but to sell your soul at the crossroads”
I have to admit to not being entirely won over by Kneehigh. They spoken of with such reverence but the handful of shows of theirs that I have seen haven’t really won me over to their style. I found the archness of The Red Shoes lacking in emotion, The Umbrellas of Cherbourg tried too hard to force too much quirkiness, A Matter of Life and Death just left me baffled! But Emma Rice’s retelling of a Hungarian fairytale, The Handless Maiden, retitled here as The Wild Bride feels like something closer to Kneehigh’s raison d’être, combining light with the dark, humour with the tragedy, and consequently I found it highly enjoyable.
When a miller accidentally sells his only daughter to the Devil and has to chop her hands off as it turns out she is too pure to be taken, the girl ends up in the harsh world of the forest where hardship is endured, opportunity presents itself but the Devil is always keeping a watchful eye. The company of six – actors, musicians, performers, dancers, artists – tell the story in typical Kneehigh style, embracing a world of influences the most significant of which are the enchanted dark forests of the Brothers Grimm with their mysterious feel and the American South of the Great Depression, with the twang of blues guitar never far away. The end result is something close to magic. Continue reading “Review: The Wild Bride, Lyric Hammersmith”