Tag: Shakespeare

Blah Blah Blah, Blah Blah Blah, Blah Blah Blah, or Much Ado About Nothing

Uncategorized

The Arden School of Theatre

In collaboration with Figs in Wigs

The Waterside Theatre

It is always interesting to see what comes out of collaborations between innovative companies and theatre schools. This new piece of work created with Figs and Wigs has all their trademark elements of theatre, dance and comedy blended with silly puns and pop culture references all linked by a rich vein of absurdist humour and bonkers surrealism.

This performance is full of energy and tongue in cheek humour. Nine young performers in neon wigs and boiler suits like oompa loompas with maintenance loans. Popular culture references pop up in anarchic games of Countdown which have no winners or losers as they descend into perky dance routines and evolve toward Pointless. The consonants and vowels on display continuously shifting into yet another meansingles phrase. What could be text introducing Shakespeare is instead graphic design dummy text interspersed with the true text of the evening this is a show about nothing don’t search for meaning because there is none life is a circle it doesn’t have a point.

Shots from the Kenneth Branagh movie Much Ado About Nothing sit alongside parody film made by the performers with fake horses. Everywhere is subversion as a pantomime horse descends the stairs through the audience toward twerking horses clad in ruffled satin shirts. Later Hero the bride glides down the same stairs clad in boiler suit and satin wedding dress towards an church full of vivid vignettes of characters brightly drawn and brought to life by the cast.

Black clad mourners carry tiny butterfly coffins as they gather now for a eulogy rather than a wedding. The absurdist poignancy is playfully ruptured as this occasion morphs into a bad poetry slam. Musical interludes see various instruments employed in random ways punctuated by bad puns and finally a discussion as to how the ending should be framed… but this is Figs in Wigs and a bunch of next generation innovators so blah blah blah blah blah…

Waterside Theatre 10th/11th October 2019

Arden School of Theatre

Figs and Wigs

RICHARD III

Large Theatres

Written by William Shakespeare

Directed by John Haidar

Shakespeare’s tale of the “undigested and deformed lump” that is his Richard III is considerably tweaked in this version by John Haidor for Headlong. Here we see a man more emotionally stunted than physically restricted by his disability. Tom Mothersdale delivers a Richard whose twisted body is as fluid as his nature is mercurial. The hall of mirrors that dominates the set serves as judge and jury to Richard’s lack of conscience and reflects back to the audience as a means of drawing us into this tale of political greed, narcissistic ambition and false news.

Mothersdale manages to repulse and charm in equal measure. His capacity for brutal acts and honeyed words is that of a true sociopath or charming manipulator. Moments of visceral violence as he bites his victims with the suddenness of a deadly spider sit uncomfortably alongside humour as he mischievously addresses the audience close up or prances with a makeshift crown like a gleeful child ransacking the dressing up trunk. For all his cunning and remorseless violence there is the vulnerability of a child who recognizes his mother is ashamed of his twisted body and repulsed by his twisted nature. Director Haidar ensures that we see this wounded child who has long ago decided that if he cannot have the love and admiration of others, he will command their hate and fear. Mothersdale captivates throughout in what is a truly demanding role. Rarely off stage he is never less than electrifying especially in the second act when demented by jeering ghosts he sees his fleeting success melt away on the battlefield. Bloodied and mud stained he smears mud across the reflected ghosts as if to wipe out any hint of his own wrongdoings.

Chiara Stephenson has designed a set that is gloomy and forbidding in its grey ramparts and dungeons but cut through with reflective mirrored archways. These arches allow actors to move rapidly between scenes while also creating depth to the set as the ghosts appears behind them and the audience is reflected in them looking at ourselves just as Richard examines himself in these multiple looking glasses.

Haidar makes use of every possible dramatic element that can be drawn from this gothic castle. Stony grey yet pulsating with life and bloodied by death this is a building that echoes its history in every mirrored arch reflecting lives once there and now just ghosts in the fabric of the building. The use of light and sound by Elliot Griggs and George Dennis provide striking flourishes that give the murders and battles scenes slashes of colour and sound that evoke video game violence- perhaps to suggest Richards own childlike lack of awareness of the real consequences of his actions. If at times elements appear overplayed or exaggerated they encapsulate Shakespeare’s original exaggeration of the real man. Whether you love it or not the impact of the attention seeking design elements and directorial flourishes are as in your face as Richard himself.

This feels a very fresh and timely revisiting of Richard III. There is a truly monstrous quality to this character in his relentless quest for political power. The wily cunning off an ambitious man who exalts in having neither pity love or fear is a chilling reminder of some of our politicians who make decisions for us based on their own fragile narcissistic egos and lust for power. Like Richard they strut across the world stage daring us, the audience, in how much we will allow them to destroy before we revolt and them down. Personally there are quite a few political anti heroes I would love to see buried under a carpark in Leicester!

Headlong

HOME 30 April – 4 May 2019

Images by Marc Brenner

Wise Children

Large Theatres, Uncategorized

HOME

By Angela Carter

Adapted and Directed by Emma Rice

An Old Vic and Wise Children production

Wise Children is the first production from Emma Rice’s new company, also named Wise Children. Eagerly awaited after her huge success at Kneehigh Theatre and her departure from Shakespeare’s Globe; this production packs a hefty punch of gleeful mischief and playful exuberance. A huge fan of Angela Carter’s magical realism, Rice clearly delights in bringing this sprawling tale to the stage. It is a love letter to the theatre, to family, to Shakespeare and to growing old disgracefully.

Just like the characters depicted on stage, the stage design and costumes are teaming with vivid colour and layers of detail. Designer Vicki Mortimer has created a magical world that centres around a delightfully retro caravan that encapsulates the life and the history of Nora and Dora Chance. Ever present and ever changing it is a treasure trove that excites and enthralls with each reveal. The costumes are beautifully detailed and bring alive not just a history of theatre on stage but a history of life running through two world wars.

The actors on stage act, sing, dance, play instruments and use puppetry with all the enthusiasm and flair one might expect of the vaudevillian theatre era they are celebrating. This is an incredibly talented and generous cast that look like they are having a blast onstage. The story has the characters aging through 100 years of this theatrical dynasty using a blend of puppetry to actors of different ages, sexes and ethnicities to represent all the twins. Playfully alluding to Shakespeare’s love of switching the sexes in so many roles, Rice also demonstrates that the ageing process comes to all of us and what we look like on the surface is eventually irrelevant in this carnival of life.

The choreography by Etta Murfitt blends slick dance routines with circus gymnastics while the sex scenes are an earthy mix of outrageous smut and joyous tenderness. The musical numbers range from Sinatra to The Andrews Sisters to Eddy Grant and Cyndi Lauper. Each track chosen, perfectly encapsulates a scene and its era. There are some beautiful vocals particularly on the more poignant numbers.

This sprawling tale flows like the champagne and stout so frequently imbibed as it moves north and south of The Thames and front and back of stage guzzling up life events both sublime and agonising. Carter and Rice are both true wise children as they share the capacity to capture tiny moments and shine a light on them that is both hyper real and magical.

At HOME 26 Feb – 2 March 2019

Images by Steve Tanner

Macbeth

Large Theatres

The Lowry

Written by William Shakespeare

Directed by Rufus Norris

National Theatre Production

This Rufus Norris directed production of Macbeth was a sell out at the National Theatre earlier this year. The 2018/2019 National Tour commenced at The Lowry, Manchester. Set in a post-apocalyptic world, this production looks bleak, dark and intensely moody throughout. Norris clearly intends his Macbeth to attract a modern audience at home with World of Warcraft and The Waking Dead. With Macbeth on the GCSE syllabus this production aims to engage with students new to Shakespeare. So with a hopeful heart, I took my somewhat reluctant teenage daughter along as she is currently studying the play at school.

There is much to admire in this production. The Rae Smith set design is startlingly beautiful, glistening and mournful, it perfectly captures the mood of the piece. A metal bridge dominates the set, swinging back and forth across the stage like the warring factions fighting over a piece of turf land. This assists in adding dynamism to a production that at times can appear surprisingly static. The overall appearance is of a hopeless place with dank accommodation that creates a sense of a world in flux. Homes are breezeblock husks with scarce furnishings reminiscent of refugee camps which serves to drive home the ugliness of war and displacement.

Despite the gloom there are moments of vivid colour such as the highly effective splash of red in the gaudy pimp suit worn by Duncan and later by his successor Macbeth. The theme of “To beguile the time, look like the time” is used throughout this production. The celebration dinner for Macbeth comes truly alive as a generator is cranked up on the stage illuminating fairy lights and pumping out music like a street party from a scene in the Paul Abbott show Shameless.

The witches or weird sisters seem woefully underused. Gossamer clad and unworldly the three aerial performers perfectly conjure up the supernatural aspects of Macbeth. Clambering up the unnatural trees, their eerie voices are projected through the theatre bringing a real sense of magic. The supernatural themes also work well when the ghost of Banquo appears in a haze of ghostly phosphorescence.

There is an interesting emphasis on the lost children of war and conquest. Lady Macbeth, wonderfully played by Kirsty Besterman is lithe and bristling with animal energy which if not turned to suckling her young will then create a fertile ground for political ambition. As she descends into madness, her casket is opened to reveal the poignant tiny babygros of thwarted motherhood. Baby heads are worn by soldiers to warn of the impending massacre. Gruesome scenes include slaughtered babies, concealed in plastic shopping bags being casually dropped at the feet of Lady Macduff. The futility of war is perfectly summed up by the wretched shock of Macduff as he asks, “All my pretty ones? Did you say all?…In one fell swoop?”

The cast are strong and seem at home with this production, however the style in which the dialogue is delivered may be in tune with this production, but it loses a lot of the drama and poetry of the original. Equally for a production at least partially aimed at a young student audience the cuts made here may confuse. Certainly my daughter was very aware of certain speeches she was learning at school which were missing. Perhaps it is a mistake to assume that young people who can spend hours sat in front of an Xbox cannot cope with 3 hours plus in a theatre. This may be one instance where “to beguile the time, look like the time” is slightly out of time.

On tour 2018/2019

Production images Brinkhoff Mogenburg

othellomacbeth

Large Theatres, Uncategorized

HOME

A HOME/Lyric Hammersmith presentation

Written by William Shakespeare

Directed by Jude Christian

The plays of Shakespeare continue to fascinate and inspire and there is always an ongoing artistic quest to tweak his original recipes. For director Jude Christian inspiration appears to arise from a folk song by Anjana Vasan. Oh Sister asks, Oh Sister when you gonna learn. Ain’t it always about the man….a kind hearted woman to his evil hearted ways. This mash up of Othello and Macbeth turns the spotlight on the women and explores what we are capable off when hope is replaced by despair.

This pared down production opens with a narrow stage that boldly states the intention that this Othello is a series of succinct snapshots of the original. Scene changes are signified by the discordant menace of clamouring gossip on the wind. Focusing on key elements of the plot to move the narrative along swiftly it often loses the beauty of poetry and the development of key relationships; however it sharpens the focus unto male machismo and the perils of innocence in a world of brutal ambition.

The real moment of drama that makes you inhale sharply and sit up is the sinfully clever shift towards Macbeth at the end of the first act. Lady Macbeth enters clutching empty swaddling and offers her milk as gall to Desdemona, Bianca and Emilia. As these three mistreated and/or murdered women don camouflage jackets over their bloody clothes the scene is set for the weird sisters or witches to wreak havoc.

The set design by Basia Bińkowska is startling and while it initially seems restrictive and one dimensional, it is potent in its sharp simplicity. A wall of riveted steel and a metal caged walkway evoke the confines of a hi-tech prison symbolizing the narrow constrictions of being a woman in Shakespearean times and in certain societies today. For the domestic violence in Othello it brutally resounds with the visceral crackle of bone on steel. The second act lifts the steel wall and reveals a more open space for the actors to move around. What now dominates is the perspex sink crystal clear before becoming increasingly bloody as events unfold. The metal walkway overhead gets more use in the second act as the weird sisters watch over their machinations like puppeteers pulling at the heartstrings of Macbeth and the other men.

The focus on the women in this production is a powerful reminder of the perils of love and the struggle for fairness and equality. Desdemona is a young bride who naively assumes that love conquers all. Married to a powerful man she expects to be heard without resorting to shrewishness yet conforms to the message running through Shakespeare and the song used in this production….You love like a martyr… wear your heart like a suicide vest. Lady Macbeth in vivid Tory blue is a seasoned and more experienced wife who asserts her own power within her marriage. Emilia and Bianca are also more pragmatic and less naive of the ways of men, yet all are disappointed and wounded women. These are all women who love not wisely but too well surrounded by men who are equally capable of powerful emotions.

I’m not sure how many questions are answered by this production by Jude Christian who also provoked debate with Parliament Square, however OthelloMacbeth certainly evokes lively conversation about the women Shakespeare created. This nine strong cast do a good job of keeping up momentum with notable performances by Sandy Grierson and Kirsten Foster. Most of the performances here are impressive and pushing the female characters to the forefront is an interesting dynamic. The key element is the bleeding through of such influential dramatic creations through both plays and how they still resonate with audiences today. As Desdemona says Love that endures from Life that disappears.

HOME 14th Sept – 29th Sept

Lyric Hammersmith 3th Oct – 3th Nov

Images by Helen Murray

Three Sisters

Large Theatres, Uncategorized

Royal Exchange Theatre

By Rashdash

After Chekhov

Three Sisters is the latest show from multi-award winning Rashdash and is co-produced with the Royal Exchange Theatre with whom they are Associate Artists. This is a gutsy and vibrant challenging of the narrative conventions of the classics in theatre. In taking a play by Chekhov and experimenting with the form Rashdash are exploring who the classics are aimed at. Do they still have a relevance in theatre today? Who gets what from them and in what’s ways can we alter them to continue to get something powerful and enduring from them?

Why do the men in this play have all of the lines?

Rashdash rip up the script, burn the frumpy black dresses, bare their maidenly breasts, crank up the volume on the piano and add some strings and drums. This is Chekhov in a mash up with Vivienne Westwood and The Slits. This is sexy, vibrant, caustic and clever. Packing a hefty feminist punch and some serious theatrical clout while also remaining playful and whimsical, Three Sisters is truly a thing of joy from start to finish.

These three sisters are not muted and still. They are not passive Barbie dolls but are Action girls in crinolines. There are no sepia tones to this production, instead there is a kaleidoscope of colour. There are frequent moments where tableau scenes are staged then fractured and fragmented as the performers hold up a prism to see women as so much more than pliable, passive vessels to be moulded by male writers into their version of womanhood. These women are messy, imperfect, funny, clever and complex. They have mastered social media as well as the piano. They are cultured and educated with their own opinions, and can also cry in a supermarket and “dance it out” like they’re on Greys Anatomy. They own their own bodies and wear whatever they choose, if they strip off on stage it is their decision and has a function rather than being sexualised. They wear comfy knickers, will massage their perineums with olive oil to avoid tearing in childbirth and will rail against the passage of time as a slow, slow bastard cunt!

Performance is meshed with music,song and movement so there is always a sense of flux and change. Even in moments where there is a static snapshot of stillness there will be music or the movement of a statue or the TICKTOCK digital display flashing. Nothing stays the same. The scenes are constantly shifting as the pile of disguarded clothing gets bigger as if to say plays like bodies can be dressed or styled in an endless array of guises. The nod to Shakespeare in some of the fashion choices is a witty reminder of just how many of our classic plays were written by men and are now being revisited from a female perspective- most recently Othello at Liverpool’s Everyman.

Rashdash are all accomplished musicians and with the addition of Chloe Rianna on drums and Yoon-Ji Kim on violin and synth, they move through a range of styles from classical to trippy, punk and blues. The soundscape is as varied as the costumes and the women on stage. Olga Helen Goalen, Masha Abbi Greenland and Irena Becky Willie all sing, and they all deliver whether alluding to mainstream pop Adele and Katy Perry or spitting out a punk lyric or belting out a torch song. The lyrics are mercilessly clever, and often wickedly funny. All three deliver strong performances that have an essence of each sister.

This production works across enough levels to be a success whether you know the original or not. A Chekhov aficionado will get the references to their mother’s broken clock or the spinning top given to Irena. They will see the irony of Olga idly wishing she was more able to do something about homelessness when of course the sisters are about to lose their family home. Whereas fresh eyes see a topical issue being raised that they have probably walked past on their way to the theatre. The haze of smoke alludes to the nearby town on fire but could just as easily refer to Grenfell Towers. Masha can be a modern woman dealing with heartbreak by swiping Tinder or a sister in an unhappy marriage seeking solace within an army garrison.

Moments on stage such as Masha reading out multiple reviews of the original play or being literally squashed by volumes of the classics poke fun at our obsession with the relative safety of tradition in theatre while reminding us of the need for joyfully subversive new works. Rashdash pull back the curtains and fill the stage with fresh air and new opportunities. Three Sisters can challenge existing lovers of the classics and bring new vibrant audiences to look at established works. The Royal Exchange Theatre is currently also showing The Cherry Orchard on it’s main stage. Like a beautifully deconstructed cheesecake on Masterchef Three Sisters is a brilliant take on the original classic.

Royal Exchange Theatre, Manchester 3rd -19th May

The Yard, London 22 May – 9 June

Tobacco Factory, Bristol 12 -16 June

Images by Richard Davenport

Othello

Large Theatres

Everyman, Liverpool

Written by William Shakespeare

Directed by Gemma Bodinetz

In this new production of Othello the past and present collide. A hand-embroidered hankerchief and a smartphone symbolise our human need to love and be loved, to accept and be accepted; and the destructive power of betrayal and fake news. Director Gemma Bodinetz and the repertory company at the Everyman have produced an Othello that is absolutely fresh and timeless. There is no sense of the frustration of a 400 year old play being shoehorned to appease or entice a modern audience. It just works from start to finish. The much heralded casting of Golda Rosheuvel as a female Othello is both exciting and intriguing. However this becomes at times almost irrevelant as it is the emotional depth and intensity of her performance that stand out as the most pertinert aspects of this casting choice.

Golda Rosheuvel is Othello as an army General that is female, black and gay. She is successful, respected and courageous. It could have been so obvious to play her Othello as a butch lesbian with a crew cut and and a jutting jaw. Instead we see a strong, intelligent woman who has the quiet certainty of being in love and feeling loved. She is not large in physical stature and is womanly whether in battle fatigues or a simple flowing gown. She is measured and reflective in all areas of her life until confronted by Iago whose thwarted ambition and jealous vilification of others conspire to destroy her faith in love and honour.

Patrick Brennan is undeniably effective as the charming manipulator dripping his poison with all the reasonableness and solicitation of a corrupt politician at a General Election. His Iago is odious as he reveals his plans to the audience and truly terrifying in his own certainty regarding his actions. He is the epitome of the reasonable white man hellbent on obliterating anyone who is “other”, as he moves around the stage spitting honeyed venom like Trump on Twitter.

Cerith Flinn plays Cassio as a taut, muscled squaddie with a heart of gold whether fighting honourably on the battlefied, carousing with a bottle in hand or wooing the winsome Bianca – a delightfully comedic Leah Gould. His Cassio is a fitting replacement for Othello as a young soldier with a pure heart and good intentions.

Emily Hughes performance is fresh and vivid. She combines girlish delicacy and youth with gritty determination to seek out fairness and equality for others. She is fair and beautiful but her character is what really defines why Othello loves her. She loved me for the dangers I had passed, And I loved her that she did pity them.

The swift unravelling of Othello’s calm reason into jealous, vengeful rage might seem at odds with this professional soldier and loving wife. Iago has broken the implicit trust essential between comrades on the battlefield and partners in a happy marriage. The result is a tortured woman stricken with epilepsy and deep emotional trauma. A modern take on this might well be an Othello suffering from PTSD (post-traumatic stress disorder) who is battle scarred and reacting to new trauma with paranoia, dissociative seizures and the hyperarousal of murderous rage.

The final scenes played out in a floaty, white gauze bedchamber are gut wrenchingly poignant. This gossamer veil highlights the ephemeral nature of life and gives a dreamlike softness to both the brutality and the tenderness of the murder scene. Such betrayal and heartbreak plays out and the emotional struggle for Othello is palpable. Even knowing the end of this 400 year old play, expectations feel suspended as if on a heartbeat the outcome might still go either way.

At pivotal points the audience are spotlit by powerful searchlights or the beam of a single torch. On reflection it feels like an invitation by Shakespeare and also by Bodinetz to look at ourselves and those around us and reflect on what we see. Perhaps there is an invitation to start accepting ourselves- regardless of gender or ethnicity as all being capable of strong and powerful emotions. That does not have to be dangerous when we recognise they can make us protective, nurturing parents, successful and happy in our relationships and productive in our work. It is only when we use labels to divide and diminish that we lessen ourselves and our humanity. Like Othello – male, female or gender neutral we are perfectly imperfect. No more and never any less.

OTHELLO Sat 28 April to Tues 10th July

Images by Jonathon Keenan