How else would you spend Valentine’s Day than by streaming six hours of Shakespeare in Dutch?
One of the greatest things I’ve ever seen in a theatre (and I have seen it threetimesnow), Internationaal Theater Amsterdam’s Romeinse Tragedies (Roman Tragedies) will be streaming via #ITALive from 3pm on 14th February and I highly recommend it.
I look ahead to some of the 2020 shows exciting me most with an emphasis away from the West End, looking mostly instead at the London fringe and across the UK
Sure, there’s all sorts of big ticket shows coming to London in 2020 (with big ticket prices too to go with their big names), like Sunday in the Park with George with Jake Gyllenhaal, Sister Act with Whoopi Goldberg, A Doll’s House with Jessica Chastain. But there’s so much more to discover if you venture away from Shaftesbury Avenue…
1 The Glass Menagerie, Odéon–Théâtre de l’Europe at the Barbican
Not that I want to be predictable at all but Isabelle Huppert! Acting in French! Right in front of you! I understand that van Hove-fatigue might be setting in for people but only a FOOL would pass up the chance to see one of our greatest living actors. A FOOL!
2 The Glass Menagerie, Royal Exchange
And if you wanted to do a direct compare and contrast, Atri Banerjee’s revival for the Royal Exchange will be worth checking out too for an alternative perspective.
3 The Wicker Husband, Watermill Even before Benjamin Button tore my heart apart, I was excited for the arrival of this new musical by Rhys Jennings and Darren Clark but now, the bar has been raised even higher. And the gorgeous intimacy of the Watermill feels like a perfect fit.
4 Children of Nora, Internationaal Theater Amsterdam
Me: “I don’t need any more Ibsen in my life”
Also me: Robert Icke revisiting the world of A Doll’s House through the eyes of the next generation? Yes please.
Ever behind the curve, I present 10 of my top moments in a theatre over the last ten years (plus a few bonus extra ones because whittling down this list was hard, and it will probably be different tomorrow anyway!)
Extraordinary Public Acts for a National Theatre
The establishment of the Public Acts programme at the National Theatre offered up something sensational in Pericles, an initiative designed to connect grassroot community organisations with major theatres, resulting in a production that swept over 200 non-professional performers onto the stage of the Olivier to create something that moved me more than 99% of professional productions. A truly joyous and momentous occasion.
Robert Icke tackles Oedipus with the same verve as his celebrated Oresteia in a spectacular Toneelgroep Amsterdam production
“‘Het draait alles om, maar staat zelf stil”
You wouldn’t think Robert Icke could do it again, especially in another language, but his version of Oedipus for Toneelgroep Amsterdam is quite frankly phenomenal. Shifting it into the world of contemporary politics and digging into his familiar bag of tricks doesn’t seem revolutionary on paper but on stage, it was just electric. I don’t think the ticking countdown has ever been so brutally effective.
Hans Kesting’s Oedipus is a breath of fresh air in the politics of this Thebes and Icke sets the play in real time on election night, confining the action to the campaign office where Oedipus awaits the result with his family and friends. That wait is filled with tension, not least because he’s decided to start investigating the death of previous leader Laius which, if you’re not familiar with the plot, is a whole can of worms… Continue reading “Review: Oedipus, Stadschouwberg Amsterdam”
“En de ziel begreep dat dat kleine stukje genoeg was”
Completing a trilogy of Louis Couperus adaptations for Toneelgroep Amsterdam, Klein Zielen (Small Souls) is the kind of magisterial theatre on which reputations – such as Ivo van Hove’s – are sustained. Couperus is a Dutch writer with a kind of Rattigan-like status as his work is revived here and Klein Zielen is no exception, a study of a family living under the same roof but shattered by the neuroses and traumas of the past that haunt every moment of their existence.
This is about as lo-fi as van Hove gets, just the one video insert betraying any technological leanings, recalling the stark intensity of A View From The Bridge. And here again, you see the razor precision that he instils in his company and the way they relate to each other, interact with each other. As they each move around the wide open space of the Rabozaal carpeted in a ginormous rug, so much is said about their relationships in the juxtapositions they create. Continue reading “Review: Klein Zielen, Stadschouwberg Amsterdam”
“I arm myself with patience and await the higher powers”
Whilst sitting in the audience for Roman Tragedies on Friday night and before it had even finished, I took advantage of the free wifi and booked myself into Sunday’s show, knowing I couldn’t pass up the opportunity to see this most extraordinary of shows again. And instead of writing another review in which I’d just end up repeating myself, I thought I’d just jot down some of the thoughts that came to me both whilst rewatching and on reflection afterwards. Continue reading “Notes on a second viewing of Roman Tragedies”
8 years ago, I’d barely started to blog, I didn’t know who Ivo van Hove was, Andrew Haydon didn’t know who I was, it was an altogether simpler time. And I’d be hard pressed to tell you exactly what it was that made me click on the Barbican’s website to book for a 6 hour long Shakespearean epic in Dutch but I’m glad I did, for it genuinely changed the world for me (in terms of my theatrical life anyway, who knew I’d start going to Amsterdam regularly for theatre!). I ranked the show as the best of the year for me back then in 2009 and I have to say I still think it is the greatest piece of theatre I’ve ever seen.
“Samenleven met jou… maakt me minder eenzaam. Het is de enige mogelijkheid te vergeten dat we langzaam afsterven”
Honestly, just look at the photos below, there are just no words to describe how stunning the creative vision of Ivo van Hove, Jan Versweyweld and the rest of the Toneelgroep Amsterdam crew is (co-producing here with Toneelhuis and the Ruhrtriënnale). At a point where I was a little worried that there might be a little van Hove overkill going on (London theatregoers currently have the choice of Hedda Gabler and/or Lazarus), De Dingen Die Voorbijgaan (The Things That Pass) served as the perfect reminder that only a fool would take him for granted in the stunning way that he brings theatre to life.
De Dingen Die Voorbijgaan is an adaptation of a Louis Couperus novel, a Dutch writer from the turn of the last century whose work appears to be undergoing a Rattigan-like re-invigoration as its extraordinary psychological acuity is being rescued from the previously dusty image it has been saddled with. An epic family story, it probes into the legacy of Dutch colonial times and the way in which unresolved bad deeds can infect generation after generation to pernicious effect, depicting the atomisation of the nuclear family long before it became the norm that it is today, something reflected in the austere timeless beauty of Versweyveld’s design. Continue reading “Review: De Dingen Die Voorbijgaan, Stadschouwburg Amsterdam”
“I could die for you, but I couldn’t and wouldn’t live for you”
It feels almost heretical to say that one wasn’t blown away by an Ivo van Hove production but The Fountainheadmanaged that. In fact, it’s not even the first time, The Antonioni Projectsimilarly failed to excite me in the same way that the best of his work with Toneelgroep Amsterdam has done. Linking these two shows is my lack of fore-knowledge of either, I’ve yet to see an Antonioni film and likewise, I’d never read Ayn Rand’s 1943 novel (mainly because people had told me it was such hard work).
Which isn’t to say that advance homework is absolutely necessary, there’s a whole world of thinkpieces to be written on enjoying or appreciating a work of theatre on its own merits, but that when that theatre is as multilayered and complex as van Hove is wont to produce (and also in a foreign language, I was at an unsurtitled performance for once), it can only help. As such, this delving deep into the world of anticollectivism was one of the more challenging four hours I’ve spent in a theatre. Continue reading “Review: The Fountainhead, deSingel Antwerpen”
“Dingen die zo diep aankomen die krijgt geen mens eruit”
I knew that the main show I booked for my stay in Amsterdam would be surtitled in English but in the hunt for something to do the night before, I couldn’t help but be a little adventurous (crazy) and book for a piece of Dutch theatre in Dutch in the Netherlands. So I went for Bloedbruiloft (Blood Wedding) as it’s a play I know and was being produced by the new directors scheme at Toneelgroep Amsterdam. Plus the thought of seeing a piece of theatre entirely in a foreign language had a definite thrill about it, and one which was borne out in some of the most exciting, crazy, intense theatre I’ve seen all year.
It is just an extraordinary reworking (tekstbewerking being the fabulous Dutch word for adaptation) of the text that takes the frame of Lorca’s writing but utterly shifts the context. The focus falls squarely on the family, the community of people in this village and the intensity of emotion it provokes between its inhabitants – whether the mother and her beloved son, or his intended bride and the forbidden fruit that is neighbour Leonardo. This approach also plays up when these relationships are inequal – the disdain between Leonardo and his devoted and constantly fretting wife, the fatal mismatch between bridegroom and bride. Continue reading “Review: Bloedbruiloft, Frascati”