“We have traditions, gentlemen’s agreements…things to help us to the best we can”
It’s always nice when karma works out in your favour. A clash in the schedule meant that I had to return my original ticket for This House and as the run was completely sold out, I was doubtful that I’d get to see the show. But as it turned out, standing tickets in the pit had just been released and so for the princely sum of £5, I was able to take in an early preview of James Graham’s new play for the National Theatre.
Set in the halls of Westminster across the incident-ridden 1974-1979 parliament, This House occupies that strange ground of fictionalised reality that so many playwrights seem to love. Graham has taken inspiration from the real events of the time – the hung parliament, economic crises, changes in leadership and a surprisingly high mortality rate among MPs – and created his own version of events. His focus lies with the whips on both sides and it is from their perspective that we see events occur, as they troubleshoot left, right and centre, struggle to control their wayward members and do deal after deal with their opposing counterparts, observing the age-old traditions and principles that serve in place of a constitution. Continue reading “Review: This House, National Theatre”
“Many a man there is”
The second part of Propeller’s current double bill is The Winter’s Tale and much as we did last year for The Comedy of Errors, Boycotting Trends and I (with bonus @3rdspearcarrier) trekked up to Sheffield to catch it early in the substantial tour that follows. It was a little sad but true that Henry V failed to live up to my (sky-high) expectations so I’d aimed for a better job of managing them this time round for this ‘problem play’.
Sicilia is all moon-lit stark, metallic edges, the dark candle-lit atmosphere matching the troubled mind of Leontes, whose tortured jealousy sends him into a frenzy that challenges a lifelong friendship, the will of the gods and the lives of his children and his dear wife Hermione. Robert Hands give his Leontes an anger that subtly builds rather than one that defines his character and thus we feel for him even in his most fevered moments and always see the husband and father that is being lost in the red mist of jealousy – this in turn makes it (slightly) more believable that Hermione might forgive him. Continue reading “Review: The Winter’s Tale, Propeller at the Crucible”
“May I with right and conscience make this claim”
After the phenomenal success of their pairing of Richard III and The Comedy of Errors which toured considerably this year, all-male Shakespeare company Propeller are riding on something of a high. The company has evolved once again with some departures, some new faces and several stalwarts remaining in situ to take on Henry V (which will be accompanied by The Winter’s Tale from next year) which will tour the UK and the world once again, even heading over to Australia and New Zealand in March.
A history play that has war at the very heart of it, Henry V perhaps lends itself more easily than most to updating, the enduring nature of conflict meaning that resonance is sadly never too far away. Propeller, with Michael Pavelka’s design, have adopted a modern feel – costumes point towards early-twentieth century – but one that generally feels more timeless rather than particularly anchored to any specific period with scaffolding units and crates forming a flexible set. The company bring their customary level of reinvigoration to the play, breathing a new physical life into the work and letting their imagination take it to new places. Continue reading “Review: Henry V, Propeller at Yvonne Arnaud”
“I would love you if I could”
Are certain of Shakespeare’s plays done to death whilst other neglected? When asking a friend, with whom I caught up briefly this week, what he was going to see this week, my response to him saying As You Like It was ‘which one?’. This may actually be the only production currently running in London – though I did take in the Royal Exchange’s modernised version on my trip to Manchester last month – but it does feel we are never too far away from As You Like It in one shape or another.
This particular production, which has played a few dates at Shakespeare’s Globe in the midst of a considerable UK and Europe jaunt, has the similar small-scale touring feel to the Hamlet that opened the Globe’s season this year with a small cast of travelling players – here in Victorian dress – covering all the roles and providing the musical accompaniment, all from the large wooden box that dominates, and forms an integral part of, the stage. Continue reading “Review: As You Like It, Shakespeare’s Globe”
“Negativity be damned”
Maintaining a strong record of reviving Russian plays (Burnt By The Sun was a highlight of last year for me), Mikhail Bulgakov’s The White Guard takes up residence in the Lyttleton in a version by Andrew Upton (I saw a preview, it opens officially on 23rd April). Stalin was famously a fan of this play but it should be noted that Bulgakov was no Stalinist and was pretty much a dissident, writing as anti-Soviet works as he dared whilst forbidden to leave the country and suffering much from censorship, a theme visited in another of his plays, Molière or the League of Hypocrites seen in London late last year at the Finborough.
The White Guard is a look at the price that is paid by people during wartime: both on the grand political scale, but also on the personal and family lives. Set in the Ukraine in 1918, we follow the Turbin family as they struggle to maintain their lives in a Kiev ravaged by the just-ended First World War, yet flung headlong into the Russian Civil War which ensued immediately after. The Turbin’s apartment is presided over by the luminous Lena, around whom a coterie of assorted characters gravitate, as the tumultuous sequence of events and invaders threaten to irrevocably change to everyone’s way of life. Continue reading “Review: The White Guard, National”