“Foster’d, illumin’d, cherish’d, kept alive”
I’ve become a bit of a dab hand at making work trips coincide with theatrical opportunities and as with last year, the stars aligned to put me in Newcastle at the same time as the RSC, and to see a Shakespeare play I’d never seen before as well (only six more to go and one of those will come this weekend). Two Gentlemen of Verona doesn’t get anywhere near as much exposure as some of the others, a recognition that as an early play – possibly even the first he ever wrote – it bears the marks of a playwright still very much working his way into his craft.
It also plants the seeds of what would grow into several of his hallmark devices – the liberating freedom of the forest to solve the problems of the town or court, a woman dressed as a man, sudden and random declarations of love – but they’re deployed here with a little clumsiness as the quartet of lovers here wind their way through the trials and tribulations of love’s young dream. Where Simon Godwin’s production succeeds though is in embracing these issues and shifting the tone of the play from a comedy to more of a problem play. Continue reading “Review: Two Gentlemen of Verona, RSC at Theatre Royal Newcastle”
“I wasted time, and now doth time waste me”
I am aware that I’m flying in the face of received wisdom here but I really wasn’t a fan of the RSC’s Richard II. The announcement of David Tennant in the leading role ensured its sell-out success (regardless of the actual strength of the production) and its transfer to the Barbican after its initial run in Stratford-upon-Avon likewise proved to be the quickest of sellers. Its critical notices have been close to superlative too, so the level of expectation was certainly high.
But for all of this, I found Gregory Doran’s production to be largely quite dull, it hardly ever provoked excitement or even piqued my interest in the slow-moving telling of its tale of regime change and the corrosive effects of absolute monarchy on the individual. The inferences of a Christ-like demeanour to this King are heavily played and Tennant laps this up, irascible and irritable throughout and increasingly given to thoughts of his own divinity. Intentional perhaps, but hard to like. Continue reading “Review: Richard II, Barbican”
“What are thou that usurp’st this time of night”
The recent RSC production of Hamlet, starring David Tennant, has been filmed and was broadcast on BBC2 on Boxing Day afternoon, a curious piece of scheduling but thanks to the beauty of iPlayer, I was able to watch it as my leisure this evening. Rather than filming the play as it was performed on stage, the original cast deliver this modern-dress and modern-day adaption on location which gives it a much more filmic feel, especially with some of the camera tricks used, such as observing the action from the CCTV cameras.
David Tennant really is rather good here. His Hamlet is both wiry and wired, constantly moving and shifting, mimicking those around him with a quick wit but all-the-while suffused with a precipitous edge. The sense of danger is never far from this often bare-footed prince, but in my limited Hamlet experience, I did miss a little of the brooding intensity that Jude Law brought to the role. Equally strong though was Patrick Stewart’s coldly calculating Claudius. From his opening scene, there is no doubt that he has Hamlet’s cards marked and employs a chilling restraint throughout which was far scarier than any amount of raging. And Oliver Ford Davies’ Polonius was also good value for money, flirting between the doddery old dear of the court and the canny politician keeping himself in favour. Continue reading “TV Review: Hamlet, RSC”