“No mistake no mister no missed her no mist no miss no”
As my dear Aunty Mary used to say, by the crin! Sarah Frankcom’s production of Caryl Churchill’s The Skriker is a properly gobsmacking piece of work, the kind of theatre that leaves you reeling from its sheer audacity, its free-wheeling inventiveness and a general sense of what-the-fuckery. Maxine Peake’s acting career has been far too varied for a peak to ever be declared (though for me, Twinkle ftw) but it is hard to imagine her any more hauntingly, viscerally, intense than she is here, wrapping every sinew of her body around the often bafflingly complex wordplay and utterly owning it with an authoritative otherworldliness.
There’s a plot. Kind of. Though it is literally, and physically, hard to follow. Frankcom has lavished huge amounts of creativity onto the show and empowered her creatives to be daring, so that it becomes akin to an art installation in how densely visual it becomes. Imogen Knight’s choreography haunts every scene as an ensemble of 12 keep a strange and kinetic energy coursing through the theatre, Jack Knowles’ artistically inspired lighting playfully pulls the perspective one way then the other, and Lizzie Clachan’s reinvention of the physical space of the auditorium has to be seen to really be believed (book the stalls, seriously) as it rewrites the rules of engagement. Continue reading “Review: The Skriker, Royal Exchange”
“Well there are worse things…on a Sunday”
As a rule, I have generally resisted the urge to go to the theatre whilst on holiday, preferring to actually take a proper break from it all, but with free Eurostar tickets to take care of and the promise of a cast that included Julian Ovenden, Beverley Klein and Sophie-Louise Dann, I could not resist the lure of making a trip to Paris to see the Théâtre du Châtelet’s production of Sunday in the Park with George. It is a Sondheim that I hadn’t seen before and the Châtelet’s reputation for producing his work with Lee Blakeley at the helm (previous years have seen them put on A Little Night Music and Sweeney Todd and next year is Into the Woods) meant that building a weekend away around it was an irresistible choice.
The show uses Georges Seurat’s painting A Sunday afternoon on the Island of La Grande Jatte as a starting point explore the relationship between artists and the art they create, and also the impact that pursuing the creative impulse has on those close to them. Ovenden fits the role of Georges perfectly, the grandeur of his virile voice a good match both for the compulsive obsession of the artist and the demands of leading such a show as this – if he wanted to (and I’m not so sure that he does), he really could become one of the premier leading men de nos jours. As his long-suffering mistress Dot, Dann is highly appealing and sounds wonderful and there’s lovely work from supporting players like Francesca Jackson and Rebecca Bottone as a pair of flirty shopgirls and Klein’s Yvonne, negotiating the bumps of her own marriage to an artist. Continue reading “Review: Sunday in the Park with George, Théâtre du Châtelet”
“I gave you all my love and this is my reward?”
Monteverdi’s opera The Coronation of Poppea is one of the first that was ever written and this new version by Mark Ravenhill and Alex Silverman marks the continuation of OperaUpClose’s rebranding of the King’s Head pub theatre in Islington as London’s Little Opera House. They were responsible for the Olivier award-winning La Bohème which was judged the best new opera of 2010, for its reinvention and modernising of Verdi’s classic and a similar blast of imagination has been aimed here.
Ravenhill has translated the work into English, modernised and colloquialised it – the first line, sung, is perhaps predictably ‘what the fuck’ reworking – and trimmed it down considerably to 2 hours 15 minutes. But perhaps the biggest change is with the music which has been re-scored and re-arranged for a jazz ensemble of saxophone, double bass and piano by musical director Alex Silverman and on top of that, Michael Nyman has been drafted in to compose a new aria which has been added into the mix. The opera follows the rise of Poppea, mistress of the Roman emperor Nero, as she fights her way to fulfil her dream of becoming empress, not letting his advisers or either of their spouses to get in the way. Continue reading “Review: The Coronation of Poppea – London’s Little Opera House at King’s Head Theatre”