Three feature-length episodes of a new take on Dracula prove an indulgence too far
“One can have too much of a good thing”
I found episode 1 to be a bit of a drag and the subsequent two parts of Dracula were no better, worse in fact, as Mark Gatiss and Steven Moffat’s adaptation of Bram Stoker’s iconic novel takes the daddy of all vampires to places (and times) new for no good reason at all. Dolly Wells’ casting as the continuation of the Van Helsing bloodline had some great moments due to some witty writing and her wonderfully dry interpretation but there’s only so much the charismatic Claes Bang could do with the lord of darkness himself.
Actor and voiceover artist Christopher Tester takes a thoughtful trip through his 10 questions
With his indecently listenable voice, Christopher Tester is the kind of actor who makes you sit up when he starts talking and I’ve enjoyed many of his performances over the last few years. Up at the top though is probably The Picture of John Gray.
“In many ways it was the ideal fringe experience – beautiful new writing, with a generous and talented company, which felt like it was really offering something important in a room above a pub. I think it sits up there with The White Rose as a show that prompted a huge response from its audience which I was very aware of while performing it. And the fact that it was based on little known real characters gave it an extra weight – a feeling that these people’s lives were resonating beyond their own time. It also gave me a scene where I just had to pour my guts out a little bit, and however much it’s “never about you”, that I had that opportunity coupled with writing deft enough to (hopefully) avoid indulgence was pretty special. You do it because you want to offer your heart.
And maybe kiss an actor as pretty as Patrick Walsh McBride.”
Continue reading “10 questions for 10 years – Christopher Tester”
“We are living in an age of unrivalled beastliness”
The life of Oscar Wilde has been much explored, not least in the theatre with De Profundis and The Judas Kiss just two recent examples, but CJ Wilmann’s new play The Picture of John Gray takes a different angle on the familiar events by focusing on others who were in his circle and how they were affected by the scandal that engulfed the writer and eventually claimed his life. The fresh-faced and devout poet John Gray was one of those men, a lover of Wilde’s and reportedly the inspiration for the character of Dorian Gray, and Wilmann’s play adroitly explores this slice of gay life anew.
Though Wilde is oft mentioned, he never actually appears here, his presence is merely felt and as Patrick Walshe McBride’s youthful Gray burns brightly and briefly in Oscar’s life, he spends more and more time in The Vale, the artist’s studio of couple Charles Ricketts and Charles Shannon that formed the salon for the group. There, his head is turned by the French Jewish literary critic Marc-André Raffalovich and an intense relationship forms between the two, right at the moment that the Bosie-led scandal explodes and lands Wilde in court and then in jail. Continue reading “Review: The Picture of John Gray, Old Red Lion”
“There’s some ill planet reigns”
Sheffield’s autumnal Shakespeares have become something of a yearly institution and a regular fixture in my theatregoing diary. This year sees The Winter’s Tale arrive at the Crucible with something of a less starry cast than in previous years (although Barbara Marten and Claire Price were both strong draws for us) and the return of director Paul Miller to the series, after his Hamlet back in 2010. Sad to say though, this was not for me – the atmosphere hampered by a sadly sparse matinée audience but the production also full of choices that just didn’t appeal.
Shakespeare’s late play relies on the careful balancing of two halves – Sicilia’s dark tragedy and Bohemia’s pastoral vibrancy, the pain of simmering jealousy against the freshness of new love. But though they must complement each other, they need to effectively stand alone as well and Miller struggles with his opening act. The sparseness of Simon Daw’s design places the focus strictly on the interactions of his actors, but his preferred method of placing them at some distance from each other on the large stage estranges them too much, both from each other and from the audience. Continue reading “Review: The Winter’s Tale, Crucible”