“And all the clouds that lour’d upon our house…”
The last time I was at the Globe (for Henry V), I made the mistake of mentioning that I had never actually been rained on whilst being a groundling. This time round, for the opening night of Richard III, we made it to the second half quite dry but then the heavens opened and I was forced to use my delightful yellow poncho whilst proved little respite against a rather heavy and sustained fall of rain which made me long for the hard comfort of the Globe’s (covered) seating. This Richard III is notable for seeing the return of Mark Rylance to the theatre where he was Artistic Director for 10 years where this all-male Original Practices-exploring company will also take on Twelfth Night later in the season and then transfer both to the West End.
Given the tragic news just last week of the death of his stepdaughter, it is hard to know what to say or how to pitch any comments about Rylance. Though it is probably close to heretical to admit it, I’m not actually that big a fan of him as an actor, having found him too dominant a presence on stages before for my liking at least, but given that for once this is actually a play where that is the intention, I was willing to give this a try. Using the types of costumes and props that would have been available in 1593, Rylance sports a false arm complete with teeny withered hand (I jested at the interval that this is him saying ‘look, I can even do Shakespeare with one arm behind my back…’) and a rather muted demeanour as he limps and shuffles around the stage. Continue reading “Review: Richard III, Shakespeare’s Globe”
“Let me offer you a different story”
Any film that contains someone being dragged to the theatre saying “there won’t be puppets will there?” is bound to be a winner with me. And if that film has also courted controversy then my interest is bound to be piqued. But the publicity campaign against Roland Emmerich’s Anonymous was so vociferous that it disappeared from cinemas before I got the chance to see it and so I had to wait for it to emerge on DVD. Why so controversial? Emmerich’s (better known for loud blockbusters like Independence Day, Godzilla and The Day After Tomorrow) film is based on the premise that the 17th Earl of Oxford Edward de Vere was in fact the true author of the works normally attributed to Shakespeare. Thus a great outcry was launched, by the people and scholars for whom this is the biggest deal, and the film largely scuppered.
Which ultimately is a shame, as I found it to be rather an enjoyable film and somewhat perversely, the authorship question is just one of many strands of story in what turns out to be a historical political thriller, mainly based around the succession to the throne as Elizabeth I’s reign has produced no (legitimate) heirs. That one of the key players in her court just happens to be a playwright on the sly, who is forced to use a surrogate by the name of William to get his plays staged, is taken as a given here and it makes for an entertaining ‘what if’ scenario. Continue reading “DVD Review: Anonymous”
“If you now beheld them, your affections would become tender”
And so to The Tempest, the third and final radio adaptation (by Jeremy Mortimer here) in the Shakespeare on 3 season, though oddly not cross-cast with the other two so its place in the programme felt a little incongruous. And whether I’d had my fill of Shakespeare on radio or whether its my fatigue with this particular play or whether it just generally wasn’t that distinctive, I found this a bit of a slog.
It wasn’t bad per se, just never particularly engaging for me, and consequently I’ve haven’t much to say about it (for once). The incidental music that plays throughout the show was specially written (and also performed by) The Devil’s Violin Company and adds an interesting additional texture, but when the most interesting thing I can think to say about a Shakespeare production is about the music, then something is wrong.
“They see you as a hussy who planned to get your claws into the King from the moment you came to Court”
Another revisit to a play in a month that has seen a fair few and once again, it was to a play I hadn’t intended to see for a second time. This time it was Howard Brenton’s Anne Boleyn which premiered at the Globe last summer and which seriously impressed as a piece of new writing which managed to bring a potentially very dry historical subject to vibrant life, both enlightening and amusing audiences in equal measure and earning its star, the luminous Miranda Raison, a Best Actress fosterIAN nomination. When it was first announced that it was returning as part of the 2011 Globe Season, the lacking of accompanying casting news led me (and others) to suspect that she would not be returning with the production and so I was quite happy not to bother seeing it again. Sod’s law dictated that Raison did indeed return though and so my resistance was quickly work down and a visit made to the penultimate performance of the run.
My review from last year can be read here and little has changed in that I really did love it just as much second time round. I’d forgotten just how witty it was from start to finish and just how well-written the whole thing is, but particularly the role of Anne. It really is a superb part, shedding a brand new light on a historical figure of whom so much has already been said, but Brenton makes a convincing case for her as a truly unique figure, dazzling with intelligence but also possessed of reckless abandon in the pursuit of her goals. And Miranda Raison breathes such delightful life into her portrayal, brimming with self-confidence and a self-assurance that allows her to dominate Henry VIII for years whilst his divorce with ‘the Aragon cow’ is sorted out yet makes her entirely likeable. Continue reading “Re-review: Anne Boleyn, Shakespeare’s Globe”
“Make the coming hour o’erflow with joy and pleasure drown the brim”
All’s Well That Ends Well occupies an enigmatic place in the Shakespearean canon, grouped as one of the ‘problem plays’ since it does not fit neatly into one category or another – an enigmatically dark comedy full of ambiguity and curious ethics which means it is not one of the more regularly performed plays, indeed this is the first production to grace the stage of the Globe.
Helena is in love with the arrogant Bertram, son of her guardian the Countess of Rousillon, despite him being well out of her league as she is but a commoner. But when she utilises the skills left to her by her deceased physician father to cure to the King of France of a painful fistula and he gratefully offers a reward of her choosing, she seizes the opportunity to have the king allow her to marry the man of her choosing. Bertram does not take too kindly to being coerced thus and reluctantly submits to the betrothal but declares he will never be a true husband until two seemingly impossible conditions are met and leaves France for Italy to become a soldier, hoping to never see Helena again but she is one determined young lady. Continue reading “Review: All’s Well That Ends Well, Shakespeare’s Globe”
“I would lose my life rather than my honesty”
Anne Boleyn marks the first new play in this year’s programme at Shakespeare’s Globe. Written by Howard Brenton, it features Miranda Raison in the title role, continuing a character that she also plays in Shakespeare’s own Henry VIII, also playing in rep. This is a review of the first preview, so please bear that in mind whilst reading my thoughts below.
The play covers the life of Anne Boleyn from her time in court as one of Katherine of Aragon’s ladies-in-waiting, through her developing relationship with Henry VIII and the ideals of Protestant reform, ideas that ultimately caused her downfall but also sowed the seeds for the huge upheaval that culminated in the Civil War. What Brenton has done though, is to couple this story with the story of James I trying to establish control over a sceptical kingdom and varied religious groupings, centring around his commission of a new translation of the Bible. James is haunted, literally, by Anne’s ghost and her legacy and the two combine to great effect. Continue reading “Review: Anne Boleyn, Shakespeare’s Globe”