“What would you do to take control?”
Fractured timelines can be an interesting way to tell a story – fragmented shards of drama shuffled in a non-linear narrative, forcing audiences to piece together a throughline to the truth, such as it may exist. But in these cases, we are very much at the mercy of playwrights actually providing enough information to reconstruct enough of a plot. And sad to say, I’m not too sure that Fiona Doyle’s Abigail actually does that.
That’s not to say that we need to be given all of the answers, to have everything spelled out for us completely, but Abigail remains inscrutably vague to the end. It would be a fascinating exercise to reorder the script here, reconstruct Doyle’s writing to see if that really is the case but in its current state, directed by Joshua McTaggart over the course of an initially intriguing hour, the play still proves frustratingly ephemeral. Continue reading “Review: Abigail, Bunker Theatre”
“’Tis the time’s plague when madmen lead the blind”
Though no spring chicken myself, I’m not quite the right age to be truly excited about Oscar winning actress-turned politician-turned actress again Glenda Jackson’s return to the stage. I was more intrigued than truly excited when she was announced in the title role of Deborah Warner’s King Lear for the Old Vic for though I’m well aware of who she is, her film and TV credits never broke through into what I was watching either back then or since. (Feel free to recommend her must-see performances – I’ll add them to the list of things I’ll get round to watching one day.)
But I’m always here for casting decisions that shake the established order somewhat and with Celia Imrie, Jane Horrocks and Rhys Ifans in the cast too, there was no chance I wouldn’t go see this. Full disclosure though, I went to the final £10 preview so treat this review how you will. For it is simultaneously an effortful and frustratingly vague production that never truly convinces of the attempted scope of its artistic vision. Fortunately, this often-times ephemeral and occasionally perplexing Lear is anchored by a striking performance from Jackson. Continue reading “Review: King Lear, Old Vic”
“A man dare not play the tyrant in London, because there are so many examples to encourage the subject to rebel.”
It may be The Beaux’ Stratagem but it is Mrs Sullen’s play. The most striking thing about Simon Godwin’s production of George Farquhar’s final Restoration comedy is its determinedly proto-feminist stance as Mrs Sullen – an independently wealthy woman now desperately unhappily married – is given surprising agency to express herself in a meaningful way and attempt to extricate herself from her situation. And in Susannah Fielding’s superbly silken performance, she’s exquisitely played as an almost tragicomic figure, endlessly entertaining in the raucous romping around but as Jon Clark’s lighting picks her out at the end of each act, capable of holding the entire Olivier theatre’s hearts in her hands.
The beaux ain’t too bad either. Farquhar’s plot centres on their attempts to marry into money after squandering their fortunes in London. Hoping news of their disgrace hasn’t reached the provinces, they head north and stop off in Lichfield, pretending to be master and servant, where their attentions fall on a rich young heiress and her unhappily married sister-in-law. Samuel Barnett’s Aimwell and Geoffrey Streatfeild’s Archer are a witty pair of fellows indeed, with a cracking line in beautifully cut overcoats too, as their avaricious adventures are soon overturned by amorous attentions as they can’t help but fall head over well-turned heel for their marks. Continue reading “Review: The Beaux’ Stratagem, National Theatre”