International Rescue Committee (IRC) and Shakespeare’s Globe have come together to mark World Refugee Day with a powerfully moving short film – the “Stranger’s Case”.
Actors from some of the biggest TV shows and Broadway shows have come together with refugees from Syria, Sierra Leone, and South Sudan (half of the people who appear in the film have fled conflict) to perform a previously banned speech widely believed to have been written by William Shakespeare, from the collaborative 16th-century play “Sir Thomas More”.
This is truly a Coriolanusfor our times. Josie Rourke’s intimate chamber production for her Donmar Warehouse made ripples by casting Tom Hiddleston in the title role, a rare return to the stage for an actor now catapulted into Hollywood’s hotlist, but in so many other ways, it is an intelligent reading of the text that subtly recasts Shakespeare’s tragedy into something if not exactly relatable, then certainly recognisable.
Roman general Coriolanus is viciously successful on the battlefield but when he is urged to move into a political career, he faces a whole new set of challenges. Enormous pressure from his domineering mother that has stunted his lifelong emotional growth, a disdain for the very same ‘great unwashed’ whose votes he needs, and an establishment gunning for him from the word go. Rourke ensures huge clarity in her adaptation of this most brutal of tragedies which proves most compelling. Continue reading “Review: Coriolanus, Donmar Warehouse”
Relevance. From the moment that Timon of Athens was announced as part of the upcoming season at the National Theatre with its look-alike poster image, it was clear that this would be a production straining for resonance in the modern world. This is nothing new of course – the recent Antigoneopened with an evocation of the capture of Bin Laden, the RSC have relocated Julius Caesarin a modern-day African dictatorship, numerous Comediesof Errors have touched on people-trafficking – but in his quest to update this neglected Shakespeare problem play for our times, Nicholas Hytner seems to have suffered very much from square peg round hole syndrome. Aspects of this production may well improve as the preview period progresses, my problems with it ran much deeper.
Timon starts the play as a major player on the London social scene, showering the city and his acolytes with his financial largesse and a dubious open door policy. But such cultural and personal philanthropism comes at a serious price when it emerges that Timon is in fact bankrupt and when he turns to those who he has lavished with money and gifts, they turn their back on him and offer no help. He exacts a stinking revenge on them during a feast and then retires from society to become a bag lady. Even then, an unexpected discovery means that he cannot truly escape his former life but his influence is channelled into a darker stream of action as civil unrest is steadily growing. Continue reading “Review: Timon of Athens, National Theatre”
Though the prospect of a different kind of Greek tragedy is one that is dominating our headlines at the moment, the ancient Greek kind remain an enduring presence in our theatres. Sophocles’ Antigoneis the latest to re-emerge at the National Theatre with director Polly Findlay using Don Taylor’s version of the play, originally done for the BBC in the 1980s. Her production locates this version of Thebes somewhere in the North of England in the late 1970s (at least that’s when I reckoned but others in the group were less sure) in which Jodie Whittaker and Christopher Eccleston take the leading roles.
Thebes has been wracked by civil war and turmoil and in the aftermath of a particularly bloody struggle between the two brothers fighting over the throne, Creon seizes control and becomes king. To stamp his authority on the city, Creon opts to bury one brother but leaves the body of the other more rebellious one to rot outside on the battlefield. This horrifies Antigone, sister to the men and niece to Creon, and despite a royal decree forbidding anyone to touch his body on the pain of death, she sets about doing what she thinks is right. Continue reading “Review: Antigone, National Theatre”