Internationaal Theater Amsterdam’s response to Covid-19 is naturally beautifully artistic – a series of readings of Boccaccio’s The Decameron, a response to a 14th century incidence of the plague. Here’s some more of my favourites from the company.
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.
5 Romantics Anonymous, Bristol Old Vic
I don’t think I thought this delicious Koomin and Dimond musical would ever actually return, so this short run in the UK ahead of a US tour feels like a real blessing. Now where did I put my badge? Continue reading “20 shows to look forward to in 2020”
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.
Honourable mention: this year’s musical take on As You Like It proved just as heart-swellingly beautiful over at the Queen’s Theatre Hornchurch. Continue reading “10 of my top moments of the decade”
“‘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”
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”
“A people who can neither rule nor be ruled”
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.
So going back for seconds was always going to be a risk but it was also something I knew I’d never be able to resist. Not least because in the intervening period, van Hove has become one of the most famous, and arguably influential, directors around. His take on A View From The Bridge was the breakthrough moment but for me, it has been his work with Toneelgroep Amsterdam that has consistently been the most revelatory – Kings of War and Scenes from a Marriage both at the Barbican, Long Day’s Journey into Night and the breathtaking Maria Stuart at the gorgeous Stadsschouwburg. Continue reading “Review: Roman Tragedies, Toneelgroep Amsterdam at the Barbican”
“We don’t want to make a big thing about it”
Well it had to happen didn’t it, a less than stellar piece of theatre in my revered Stadschouwburg in Amsterdam, but I take comfort from the fact that it wasn’t Ivo directing… Instead it was Simon Stone returning to Toneelgroep Amsterdam after his scorching Medea in 2014, to present a version of Woody Allen’s 1992 film Husband and Wives. I say a version, it’s actually extraordinarily faithful to the film, to its detriment.
For though it is huge fun to see members of the Toneelgroep ensemble cutting loose on comedy for the first time, Allen’s story doesn’t contain too much real insight into love and marriage in the twentieth century, never mind the twenty-first, and so cleaving as close to it as Rik van den Bos’ adaptation does, it’s hard not to see Husbands and Wives as a perplexing choice, both for the company and the director. Continue reading “Review: Husbands and Wives, Stadschouwburg Amsterdam”
“I did not yet know the value of the throne”
It’s well over six years now since Toneelgroep Amsterdam blew open my tiny little mind with their Roman Tragedies. Back at a time when this blog was in its infancy, back when I ‘only’ saw something like 10 shows a month, back when making the decision to see a six-hour-long Shakespearean epic in Dutch was something surprising. Nowadays of course it is second nature, I regularly visit Amsterdam to see this extraordinary company work and I’ve been to New York to see director Ivo van Hove cast his magic on Broadway too in The Crucible. But it is nice to only have to go to the Barbican to see them too and at just the four and a half hours, Kings of War is practically an amuse-bouche!
My spoiler-free review from Amsterdam is here but so much more resonated with me second time around, so we’re going deeper here folks. As with the significantly worthier The Wars of the Roses (more than twice as long in toto, less than half as good), the impetus for the storytelling comes from merging Shakespeare’s first history cycle, only van Hove goes one further and includes Henry V (and arguably a smidgen of Henry IV Part 2 too). So the overarching narrative becomes one of power – the violence of seizing it, the realities of maintaining it, the struggle to keep it – as played out over and over again in this vicious cycle of dynastic tussles. Continue reading “Review: Kings of War, Toneelgroep Amsterdam at the Barbican”
2016 is nearly upon and for once, I’ve hardly anything booked for the coming year and what I do have tickets for, I’m hardly that inspired by (the Garrick season has been ruined by the awfulness of the rear stalls seats, and I only got Harry Potter and the Cursed Child tickets due to FOMO). Not for the first time, I’m intending to see less theatre next year but I do have my eyes on a good few productions in the West End, fringe and beyond. Continue reading “20 shows to look forward to in 2016”