In the spirit of the season, I’m not commenting too much on the RSC’s The Merry Wives of Windsor at the Barbican
“I hope we shall drink down all unkindness”
Fiona Laird’s production of The Merry Wives of Windsor is the third of the RSC’s show to open at the Barbican this winter and whilst it is certainly an eye-catching revival with its Only Way is Essex tendencies, it really wasn’t the one for me.
Running time: 2 hours 45 minutes ((with interval)
Photo: Manuel Harlan
The Merry Wives of Windsor is booking at the Barbican until 5th January
A modern and moving take on Romeo and Juliet from the RSC at the Barbican
“I am too young. I pray you, pardon me”
It’s sometimes a little difficult to take seriously how old everyone is meant to be in Romeo and Juliet but Erica Whyman’s modern-day production for the RSC, playing in rep now at the Barbican, never lets you forget. She fills the stage with kids for a cacophonous prologue, Karen Fishwick’s Juliet rightfully feels like a child and in turn, Mariam Haque’s Lady Capulet (“I was your mother much upon these years that you are now a maid”) is a convincing 26, closer to her daughter in age than her husband, but emotionally distant from both.
It’s a pattern Juliet seizes the first chance to break when she meets Bally Gill’s charismatic Romeo, a young man very much still coming into his own. And you feel that it is the running away that appeals to her just as much as the running away together. For she’s all too aware that there are cycles of violence that the young’uns of this Verona can’t hope to escape – indeed what chance do they have when even all the adults around them carry and use knives to resolve even the smallest slight. Continue reading “Review: Romeo and Juliet, RSC at the Barbican”
Despite a cast including Christopher Eccleston and Niamh Cusack, this proves another disappointment of a Macbeth as the RSC start their Autumn residency at the Barbican
“Better health attend his majesty”
Its enduring popularity on school curricula means we will probably never be free of it but in a year when both the National Theatre and the RSC have swung and missed with modern takes on Macbeth, surely it is time to give it a rest. Rufus Norris’s post-apocalyptic production felt unmoored and lacklustre in the unforgiving Olivier and now taking up residency at the Barbican, Polly Findlay’s interpretation for the RSC similarly lacks clarity and intent.
There’s plenty of ambition here and it is tempting to see the influence of a certain Dutch auteur (barefeet actors, clocks counting down to deaths…). But the over-riding aspect of Findlay’s direction is its headlong speed as it hurtles through a cut-down version of the text. Too much has been sacrificed here in the name of accessibility with precious little time given to allow emotional beats to play out, for motivations to be understood, the hurly-burly rules. Continue reading “Review: Macbeth, RSC at the Barbican”
The full cast for the RSC’s upcoming production of Macbeth has been announced.
Christopher Eccleston, making his debut at Stratford-upon-Avon, as Macbeth and Niamh Cusack as Lady Macbeth had already been announced and will be joined by:
- David Acton (Duncan)
- Raphael Sowole (Banquo)
- Edward Bennett (Macduff)
- Bally Gill (Ross)
- Luke Newberry (Malcolm)
- Tim Samuels (Lennox)
- Mariam Haque (Lady MacDuff)
- Donna Banya (Donalbain/Gentlewoman)
- Stevie Basaula (Bloody Captain/Second Murderer),
- Katy Brittain (Doctor)
- Raif Clarke (Boy)
- Paul Dodds (Chamberlain 1)
- Michael Hodgson Porter)
- John Macaulay (Chamberlain/Lord)
- Tom Padley (First Murderer)
- Josh Finan (Company)
- Afolabi Alli (Company)
The production will be directed by Polly Findlay and runs at the Royal Shakespeare Theatre from 20 March to 18 September with previews from 13 March.
“Out of this wood do not desire to go”
As the first of Shakespeare’s works that I ever read and studied, I will always have a great affection for A Midsummer Night’s Dream and to this day, it has endured as probably my favourite of his plays. Something about its otherworldly (dream-like…) free-spiritedness really appeals to me, meaning there’s little of the suspension of disbelief often necessary to make the contrivances of his other comedies work, and it is a play robust enough to take many an interpretation, whether raucuous reinventions by Filter or Propeller, last year’s clever open air take by Iris Theatre or more classically inspired ones like the Rose Kingston’s Judi Dench-starring version from 2010. It is now the turn of Regent’s Park Open Air Theatre to revisit the show (though this was my first experience of it here) with a startlingly modern interpretation as it plays in rep with Ragtime, with which it shares much of its cast, over the summer.
First things first, this was a preview, the second I believe and due to the rain on Saturday, actually the first full run-through. Things begin with some pre-show business bustling about the trailer park set, reminiscent of the Dale Farm site with travellers squaring up to each other and to the encroaching building contractors, it sets the scene well but goes on a wee bit too long for too little effect in all honesty. But once the play proper starts with its arresting, punchy modernity, Matthew Dunster’s exceptionally well-balanced production clicks smoothly into gear, folding in classical references to this fresh new take and delving into some extremely dark places alongside the oft-times hilarious humour. Continue reading “Review: A Midsummer Night’s Dream, Open Air Theatre”
“Yer ain’t arf nosey”
Edward Bond’s Saved caused quite the hoohah when it premiered at the Royal Court in 1965, due to its unflinching portrayal of the total disillusionment of a whole slice of society but mainly because of a highly provocative scene of [spoiler alert] a baby being stoned to death in its pram. Sean Holmes of the Lyric Hammersmith has given it a rare revival at a point in time which seems eerily prescient given the riots that were experienced across the UK this summer.
Set around a South London household in which meaningless existences are played out: Pam sleeps around with the local bad boys and neglects her unnamed baby and her parents, with whom she still lives, haven’t spoken to each other in years. When they take in a lodger who seems to offer a faint ray of light in this dull world, his decency takes a battering but ultimately shows up the corrosive effect of a world that feels dead set against them. Continue reading “Review: Saved, Lyric Hammersmith”
All’s Well That Ends Well is one of Shakespeare’s so-called ‘problem plays’, not easily classified as a comedy or a tragedy, but this production a part of the Travelex season at the National Theatre, posed no problems for me. This is a confidently-acted, stunningly-mounted, assured production which really confirms to me that the NT have hit the ground running with this season of plays.
The programme describes the play as ‘Shakespeare Noir’ which is quite an apt description for it. The comedy, and there is lots of it, is often underscored by the darker turns of the plot, and there is little frivolity of the ‘hey nonny no’ type, which can sometimes seem quite glib. The play opens with a girl of little consequence save the knowledge passed down from her physician father, arriving at the court of the King of France and healing him of his ailment. Her reward is to marry the man of her choice, but her chosen nobleman, Bertram, objects to such a lowly match and sets Helena a seemingly impossible challenge to win his heart and subsequently heads off to war in Italy, but Helena is hot on his heels in order to try and fulfil the deal. Continue reading “Review: All’s Well That Ends Well, National”