“If I’m left alone with her for a minute, I shudder to think what might happen”
You wait years for a production of a rarely produced Rattigan comedy and sure enough, two come along at once. Kenneth Branagh has revived Harlequinade in the West End as part of his takeover of the Garrick but nipping in first was Paul Miller, putting on French Without Tears at Richmond’s Orange Tree. As with Harlequinade, one can see why these plays haven’t been produced more often and certainly more recently, they’re definitely old-fashioned in many ways but with the care they receive here, enlightening too.
French Without Tears was actually Rattigan’s first major hit, set at a private language school where five bright young things are crash-learning French in order to meet the requirements for entering the diplomatic service. But the only thing on their mind is matters of the heart as the boys find their head completely and utterly turned by femme-fatale-in-the-making Diana and this putative tussle between the sexes is literally about it as the boys find solace in each other’s company as they struggle to control their urges in the face of flirtatious women. Continue reading “Review: French Without Tears, Orange Tree”
“I did not think I should live till I were married”
In a brief programme note, Gregory Doran declares he’s “sticking his neck out” to suggest that Much Ado About Nothing may also have been known as Love’s Labour’s Won during Shakespeare’s lifetime and thus makes a novel yet inspired partnership with Love’s Labour’s Lost in an RSC double bill. Whether true or not is by and by in the end (though Shakespearean scholars will doubtless disagree) as Christopher Luscombe’s cross-cast productions combine to great effect as well as standing proud in their own right in the Royal Shakespeare Theatre.
Where Love’s Labour’s Lost was set just before the outbreak of the Great War, Love’s Labour’s Won picks up English society as peace has finally been achieved and the Christmas of 1918 might at last be a merry one and from the outset, it feels like a more fitting interpretation. Beatrice’s independence of mind having been nurtured by the freedom of being able to work; Don John arriving as a soul-weary, battle-scarred PTSD sufferer; the rush of Claudio, Benedick, even Pedro to thoughts of marriage an emotional response to an unimaginably traumatic conflict – there’s a pleasing fit to it all. Continue reading “Review: Love’s Labour’s Won (Much Ado About Nothing), Royal Shakespeare Theatre”
“The words of Mercury are harsh after the songs of Apollo. You that way: we this way”
Always a fan of a project, the RSC have paired up Love’s Labour’s Lost and Much Ado About Nothing – which they posit may have been once known as Love’s Labour’s Won – relocated the plays to an England either side of the First World War and let Christopher Luscombe loose at them with a single company, led by Edward Bennett and Michelle Terry. The RSC have hit on a cracker in uniting this pair, reuniting them in fact as they are RADA chums of old, with the wry looks and crackling tension between Berowne and Rosalind clear from the off.
A truly excellent comic actor, Bennett has the wonderful gift of always seeming on the verge of corpsing and for Berowne, it really works. The last to be co-opted into the King of Navarre’s aesthetic scheme of abstinence for him and three buddies, the first to point fingers when incriminating love poems start to appear once ladies arrive on the scene, Bennett shows us that this is a man well aware of the daftness of the enterprise he’s gotten swept up in. But he’s also an actor of much depth as he conveys the genuine sense of surprise that accompanies his own unexpected tumble head over heels and the crushing heartbreak of the play’s end. Continue reading “Review: Love’s Labour’s Lost, Royal Shakespeare Theatre”
George Bernard Shaw’s 1906 medical ethics drama The Doctor’s Dilemma had a lot to live up to as the last time I was in the Lyttelton at the National Theatre was for the superlative The Last of the Haussmans, one of my favourite plays of the year so far, but though it didn’t quite scale those heights for me, it did emerge as a most satisfying night at the theatre. Shaw’s play centres on the newly ennobled Sir Colenso Ridgeon, a doctor who has discovered a new cure for tuberculosis but only has limited space on his trial. When the beautiful Jennifer Dubedat pleads for the inclusion of her talented artist husband, he is torn as his penniless colleague Dr Blenkinsop is also suffering from the disease and so Ridgeon and his colleagues gather to assess and discuss who is the worthier candidate for treatment.
Peter McKintosh’s set design is an effective triumph and ingenious to the extent that it garnered a round of applause at one point (although it will be slightly less surprising to those that saw this play). It possesses the requisite austere grandeur in all its incarnations of artists’ garrets, Richmond eateries, Bond Street art galleries and Harley Street salons into which Nadia Fall places her talented cast. Genevieve O’Reilly brings a stunning self-possessed statuesque dignity to Jennifer, almost too reserved until the devastating turbulence of the final act reveals all she has been concealing, Tom Burke dances across the stage with a quicksilver lightness as the manipulative Dubedat whose artistic talent has to be weighed against his problematic morals and Aden Gillett (who should always wear a full beard, always) is magnificent as Sir Colenso, pondering the titular dilemma with an aptly detached manner as befits his finely aristocratic bearing. Continue reading “Review: The Doctor’s Dilemma, National Theatre”
“The state of monarch and the state of lunacy share a frontier”
Alan Bennett’s play The Madness of George III is perhaps better known under its film moniker of The Madness of King George which featured a superlative performance from Nigel Hawthorne who originated the role on stage which was then later immortalised on film and criminally overlooked for an Oscar: a certain Mr Hanks winning instead for Forrest Gump. This Theatre Royal Bath production, starring David Haig as the eponymous monarch, is touring the country for the next couple of months, marking a rare outing for the play.
The year is 1788 and fresh from defeat in the American War of Independence, George III is increasingly afflicted by a mysterious ailment as he slides into mental decline. He is then subjected to the vagaries of 18th century medical practices which were only slowly making advances towards a more modern understanding of the body and mind and whilst undergoing treatment, power struggles rage between opportunistic politicians on both side and more crucially, his fiercely ambitious son and heir who has his eyes on an early assumption of power. Continue reading “Review: The Madness of George III, Richmond Theatre”
“I hope, upon familiarity will grow more contempt”
Hoping that the above quote doesn’t ring true, this revival of Christopher Luscombe’s 2008 The Merry Wives of Windsor slips back into Shakespeare’s Globe ahead of a US and UK tour taking in Santa Monica, New York, Milton Keynes, Norwich, Richmond and Bath through to December.
The only of Shakespeare’s plays to take place in his contemporary England, it takes some of the characters familiar from the Henry IV plays, most notably Falstaff and creates a pleasing romp as he chases after the wives of two gentlemen from Windsor but doesn’t reckon on just how cunning the women are. There’s also a young couple straining to be together in the face of parental disapproval, some comedic foreigners, some funny business with a laundry basket and a whole load of farcical fun. It plays here, as nicely explained in the programme, as a bit of a forerunner of the modern tv sitcom and it really does work.
A nice thing about this play is its balanced treatment of women, with 3 strong, funny female characters all of which are played with aplomb. Sue Wallace’s Mistress Quickly is nicely knowing in her manipulation of Falstaff and compassionate in rearranging the love affairs of the youngsters. And Sarah Woodward and Serena Evans as Mistresses Ford and Page respectively are just an absolute delight as the mischievous cohorts with a visibly strong friendship. Andrew Havill’s Basil Fawlty inspired mugging as Ford fits in perfectly with the tone of the piece and as Falstaff, Christopher Benjamin wins our sympathies as well as making us laugh.
The only slight disappointments for me was the sagging of the pace in the first half and Ceri-Lyn Cissone and Gerard McCarthy as the rather bland lovers, typified by their overlong duet. William Belchamber’s fey Slender and Philip Bird’s linguistically-challenged Caius were much funnier and more interesting and there was no hint at all of the former drinking buddy of Prince Hal in McCarthy’s Fenton, meaning he came across as just dull.
As a little aside, I do find it curious programming that this sits alongside the two Henry IV plays this year. With the crossover in characters but not the casting and the fact that this doesn’t really square with the timelines of the history plays, it just sits a little odd in terms of the season as a whole. And with Allam’s Falstaff so fresh in my mind, I couldn’t help but compare, however this is but a minor quibble.
It is clear why this production has been revived though: it is superbly acted throughout the ensemble, it is huge amounts of fun and once it gets started it just romps through its proceedings with a vibrancy and energy that should win over audiences no matter where it plays.
Running time: 2 hours 40 minutes (with interval)
Programme cost: £3.50
Booking until 2nd October