“What man would dare disobey?”
It’s either brave or foolhardy for a theatre on Upper Street to take on Sophocles after the extraordinary success of the #AlmeidaGreeks season but the Hope Theatre, perched above the Hope and Anchor pub, has always forged its own path, ever since opening as the first Off-West-End venue to ensure a legal wage for everyone working at the theatre. And in Brendan Murray’s new adaptation of Antigone, there’s an original take indeed on the Ancient Greeks, helmed by the Hope’s Artistic Director Matthew Parker.
The story begins as just that, a story. Behind walls of corrugated iron, 5 women shelter from some unspecified war or apocalyse raging outside and to pass the time, they decide to enact a tale from the storybook that one of them possesses. And so unfolds Antigone’s struggle against a patriarchal society, Creon’s dilemmas about doing the right thing even in the face of divine intervention, Ismene’s difficulties in connecting with so fiercely committed a sister… Aided by sonically daring musical interventions for a sung Chorus by Maria Haïk Escudero, it’s a powerful setting. Continue reading “Review: Antigone, Hope”
“This is a match that I wouldn’t encourage
Gwen wants a man, not a piece of lost luggage”
Musical adaptations of Oscar Wilde’s The Importance of Being Earnest
actually have a strong pedigree as a rather smashing version played at the Riverside Studios a couple of years ago but it is now the turn of Phil Jacobs to have his own stab as The All in One Theatre Company present his take on Ernest
at Camden’s Etcetera Theatre. Filleted down to a single sprightly hour and liberally sprinkled with musical interludes, it is an undoubtedly chirpy and charming take on the story which ought to feel at home on fringes and in festivals across the land.
Jacobs has kept the basic structure of the play, in which Jack Worthing invents a roguish persona called Ernest in order to secure the hand of the fragrant Gwendolen Fairfax who will only marry a man of said name but finds his plans led awry by the arrival of his friend Algernon Moncrieff who is also posing as Ernest, in order to win the heart of Jack’s ward Cecily Cardew. A framing device of a modern version of Jack delving into the world of role-playing games doesn’t really pay off but nor does it really affect matters as Pamela Schermann’s production steams merrily on.
Samuel Harris provides an excellent anchoring strength as Jack, sweet of voice and lithe of stage presence, he is consistently good in a production that sees him rarely leave the stage but he is best when bouncing off of Linford Hyde’s louche muffin-munching Algernon. Hyde’s delivery is brilliantly done, almost cattish in its sharpness and comicly timed to perfection – a line about cufflinks is surely one of the funniest of the year. Ella Duncan’s spirited Cecily is good fun and whilst Cassandra Foster’s Gwendolen is prissily fine, she does play it a little straighter than the others.
Continue reading “Review: Ernest, Etcetera Theatre”