Tonight should have been the press night for Jack Absolute Flies Again, written by Richard Bean and Oliver Chris after Sheridan
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Jessie Buckley and Josh O’Connor headline a new production of Romeo and Juliet, while Callum Scott Howells and Rosie Sheehy star in Gary Owen’s Romeo and Julie, among other big news from the National Theatre
Simon Godwin returns to the National Theatre to direct Shakespeare’s ROMEO & JULIET following his critically-acclaimed productions of Antony and Cleopatra and Twelfth Night in the Olivier Theatre. Set in modern Italy in a world where Catholic and secular values clash, Jessie Buckley (Wild Rose, Judy) and Josh O’Connor (The Crown, God’s Own Country) play the two young lovers who strive to transcend a world of violence and corruption. Fisayo Akinade (The Antipodes, Barber Shop Chronicles) is cast as Mercutio. The production will open in the Olivier Theatre in August 2020.
Set and costume design by Soutra Gilmour, lighting design by Lucy Carter, composition by Michael Bruce and sound design by Christopher Shutt. Continue reading “News: new productions and casting updates for the National Theatre”
“Through all the drama — whether damned or not —Love gilds the scene, and women guide the plot.”
The main beauty of Selina Cadell’s production of Richard Brinsley Sheridan’s evergreen The Rivals is her mastery of the Restoration form which sees no fourth wall separating players and punters. So on taking the stage, her actors acknowledge the audience in their own ways – awkward bows, tacit nods, arched eyebrows – and continue to address us throughout, an expositionary monologue here, an announcement of the scene’s location there, a gossipy aside everywhere. What really makes it work though is the warmth and wit with which the company fold us into its welcoming arms.
With a wicked glint in her eye and wryly pursed lips, an extravagantly dressed Gemma Jones ensures her Mrs Malaprop reaches the very pineapple of her comic potential and with no less captivating humour, Nicholas Le Prevost makes even the lewdest of Sir Anthony Absolute’s comments a hilarious part of his incorrigible charm. They have decided that her niece Lydia Languish and his son Captain Jack Absolute are an ideal match but young Lydia – an outrageous Jenny Rainsford who plays her on the edge of sanity to hugely entertaining effect – has her heart set on the romantic, and penniless, hero of her dreams. Continue reading “Review: The Rivals, Arcola Theatre”
“I bear no malice to the people I abuse”
Sparkling reinterpretations of 18th century comedies have become something of an annual treat from Jessica Swale’s Red Handed Theatre company and following on from the delights of the Celia Imrie-starring The Rivals, the remounting of Hannah Cowley’s The Belle’s Stratagem and last year’s excellent The Busy Body, it is now the turn of Sheridan’s The School for Scandal to be primped and preened in their deliciously inimitable style. So for those as yet uninitiated to their ways, prepare for witty musical interludes and warmly embracing audience interaction as a vivacious ensemble romp through this comedy of manners.
Led by the machinations of the vicious-tongued Lady Sneerwell – Belinda Lang in epically glam form – Sheridan’s plot winds through a portion of the higher echelons of London society and exposes the gossip-fuelled hypocrisy at the heart of it. Lady Sneerwell wants others to suffer the loss of reputation she has; Sir Peter Teazle is concerned about the flightiness of his flirtatious younger wife; Sir Oliver Surface wants to test the mettle of his two nephews who stand to inherit his vast fortune; and above all, everyone wants to be the first to tell the juiciest pieces of gossip with the most salacious details. Continue reading “Review: The School for Scandal, Park Theatre”
“You can indeed each fear remove,
for even scandal dies if you approve”
Commencing before the curtain ‘rises’ with a futuristic-Georgian fashion show, complete with gossiping fashionistas, it is clear from the outset that Deborah Warner’s production of Sheridan’s The School for Scandal is no stately Peter Hall-esque costume piece, but rather something completely different. Employing much of the same visual language employed in her 2009 Mother Courage for the National, the Brechtian feel is very much here in the deconstructed pieces of set lying against walls, stagehands visible onstage and placards announcing the scene changes.
At a time of ever-increasing tabloid gossip, injunctions, superinjunctions and Twitter, Warner is clearly keen to draw direct comparisons between Sheridan’s Georgian London society (who presumably twittered rather than tweeted) and the shallower end of our own contemporary society obsessions with celebrity and consumerism. This is done in the most heavy-handed of ways, so the scandalous intrigue and politics that surrounds the plot of romantic entanglements, debated inheritances, saucy liaisons, unhappy marriages is dressed in designer shopping bags, a thumpingly loud soundtrack and all sorts of modernities. Continue reading “Review: The School for Scandal, Barbican”
“There’s a little intricate hussy for you!”
One of my theatrical highlights of the year so far was Celia Imrie in a sparkling production of The Rivals which variously featured audience interaction, recorders, Beyoncé songs and Sam Swainsbury sat on my lap for a while. So, when the Theatre Royal Bath production to be directed by Sir Peter Hall was announced, I was intrigued to see how it would match up. And whilst there is little of the relaxed informality of that Southwark Playhouse version, Hall sticks to what he knows best, gimmick-free, perfectly-cast productions which focus on the writing.
The Rivals is a comedy of manners, set in 18th century Bath amongst the fashionable élite who are there to take the waters and maybe a little gossip and romance on the side. Lydia Languish longs for a romantic elopement such as those of which she has read rather than a conventional marriage and so in order to win her hand, Captain Absolute disguises himself as an impoverished soldier and woos her, despite the disapproval of her guardian, Mrs Malaprop who has her own romantic designs. But Absolute has two rivals for Miss Languish, whose cousin has her own lovelife problems which we observe and the servants are playing their own games resulting in much comedy, chaos and confusion. Continue reading “Review: The Rivals, Richmond Theatre”
“If I reprehend anything in this world, it is the use of my oracular tongue, and a nice derangement of epitaphs!”
Taking up residence at the Southwark Playhouse is this new production of Richard Sheridan’s The Rivals, mixing music and dance with a very high calibre cast to create a fresh new look at this well-known comedy. Set in eighteenth century Bath, it follows the efforts of the meddlesome Mrs Malaprop to marry off her niece Lydia Languish, who has romantic designs of her own, but with an array of suitors, some of whom are not all who they seem, the scene is set for a plethora of romantic capers.
I loved the opening: the cast trickle onto the stage and chat away to the audience as if we’re all here for a ball, then up strikes the music and there’s a wickedly subversive choice of songs for an opening dance number which set the tone for this mischievous little production. There’s a real convivial atmosphere throughout, with plenty of fourth-wall-breaking going on (be warned if you’re on the front row!) and the cast play up to the intimacy of the venue with a strong conversational style.
It’s led by a trio of high-profile female performances. The stunningly beautiful Charity Wakefield as a playful Lydia is spritely good fun and charmingly engaging and Ella Smith as Julia does well with the lightest of touches on some very wordy scenes and showing off a melodious voice and some flute-playing thrown in for good measure. But it is Celia Imrie as Mrs Malaprop who is the star of the show: this being my first viewing of The Rivals, I can hardly imagine anyone else doing better in the role, it seems tailor-made for her. She endows her with such warmth and humour that one tended to find oneself laughing with and not really at her, and it is genuinely distressing to see her discover the truth about who has written the letters mocking her. Imrie seizes every opportunity to display her comic chops too, the incredible misjudged verbosity is always well-delivered, the constant shooing away of the recorder-playing heralds was a nice touch and her seductive swaying is just a sight to behold. Continue reading “Review: The Rivals, Southwark Playhouse”