The reliance on an all-white cast to tell Hogarth’s Progress is another mis-step from a Rose Theatre Kingston who should know better
“We’ve all had our share of bad reviews”
The oft-misquoted George Santayana once said “those who cannot remember the past are condemned to repeat it” and taking a glance at Nick Dear’s Hogarth’s Progress, you can’t help but feel it is most apposite for the folks at the Rose Theatre Kingston. Once again, they’re tackling a slice of English history in a multi-play format and once again, they’re doing it with a lily-white cast – diversity be damned!
It’s a bit exhausting to go over the same arguments but they still hold true. The notion of historical verisimilitude holds no water, not least because Dear has talked about employing dramatic licence with history itself, but because once again we’re not talking about German actresses being employed to play Queen Caroline (it is Susannah Harker, with an accent). We’re talking about directors not trusting that audiences will accept actors of colour in such roles, but also not doing enough to challenge such audience-held perceptions. Continue reading “Review: Hogarth’s Progress, Rose Theatre Kingston”
The cast of Hogarth’s Progress include Ben Deery, Bryan Dick, Emma Cunniffe, Ian Hallard, Jack Derges, Jasmine Jones, Keith Allen, Mark Umbers, Ruby Bentall, Susannah Harker, and Sylvestra Le Touzel.
“You wouldn’t understand my works. You wouldn’t have the faintest idea of what they were about. You wouldn’t appreciate the points of reference.”
It’s good to know that theatre directors are only human too – anyone in their right mind who watched Channel 4 drama Humans over the summer would have noted Gemma Chan delivering one of the performances of the year in any medium and naturally wanted her in on their projects. She has been working for a while in film, TV and theatre but now she’s now appearing in Harry Potter spin-off Fantastic Beasts and Where to Find Them and Jamie Lloyd has secured her services on stage in his new production of The Homecoming.
Truth be told though, I needed someone that exciting to tempt me to see it as I don’t much get on with Pinter, I’ve never had that breakthrough moment with any of his works to make me what received wisdom assures me is there. And whilst I wouldn’t go quite so far to say I’m a complete convert, I can honestly say I haven’t ever enjoyed a Pinter production as much as this one. It’s the 50th anniversary of The Homecoming but though firmly anchored in its 1960s milieu, Lloyd imbues the play with a strongly contemporary dramatic feel that is hard to resist. Continue reading “Review: The Homecoming, Trafalgar Studios”