At more than three hours, The Tragedy of Macbeth stretches the patience at the Almeida Theatre, despite strong work from Saoirse Ronan and James McArdle
“Let not light see my black and deep desires”
The tragedy of Macbeth is that it is a notoriously difficult play to stage well and given its ubiquity on school curricula, it is staged hella often. At least it is one of Shakespeare’s shortest plays but the further tragedy of this Macbeth is that it breaks the three hour mark with its running time. And as I left Yaël Farber’s production at the Almeida Theatre, I can’t say I felt it had made the case for such indulgence.
The Tragedy of Macbeth initially grabbed headlines for marking the UK stage debut of Saoirse Ronan (she has previously been on Broadway in The Crucible) and so to get your hands on a ticket in this intimate theatre is a job in itself (streaming could be your friend, details below). And much of Farber’s innovation in recalibrating this show has been to seriously beef up Lady Macbeth’s presence in the play, physically as well as verbally, something which is intermittently very effective. Continue reading “Review: The Tragedy of Macbeth, Almeida Theatre”
Flashes of excellence can be found in the midst of any production so this list celebrates some of those breath-taking and/or memorable moments that really made theatregoing enjoyably fun this year
For reference, here’s my 2018 list, 2017 list, 2016 list, 2015 list and 2014 list.
Crying with laughter at the VAULT
I don’t think I have laughed so much and so helplessly for a long time as I did with improv group Sorry.
Jessica Hung Han Yun’s extraordinary lighting in Equus
Ned Bennett’s production of Equus had so much to commend but it was Jessica Hung Han Yun’s lighting work that really stood out for me Continue reading “10 of my top moments in a theatre in 2019”
Neil Austin’s lighting design in Rosmersholm at the Duke of York’s Theatre is a thing of beauty and Hayley Atwell is excellent but Ibsen is still Ibsen…
“You see, this is what happens when the general public becomes engaged in politics — they get duped into voting against their own interests”
Chances are if Helen McCrory can’t make me like a play, then few others will be able too either. I first saw Henrik Ibsen’s Rosmersholm with Anthony Page’s production for the Almeida which was…eek…more than 10 years ago now. It didn’t click with me then and in the assured hands of Ian Rickson here, it still leaves me cold.
You do have to admire the bravado of producer Sonia Friedman, opening a play like this cold into the West End without resorting to any hint of stunt casting.And creatively, this is a triumph. Neil Austin’s hauntingly perfect lighting of Rae Smith’s austerely grand designs is a thing of pure beauty as it evolves throughout the show. Continue reading “Review: Rosmersholm, Duke of York’s Theatre”