Blogged: shaking up Shakespeare

I have a mixed time with some shaken-up Shakespeares – othellomacbeth at the Lyric Hammersmith; Twelfth Night at the Young Vic; Much Ado About Nothing at the Watford Palace; and Measure for Measure at the Donmar

“Condemn the fault and not the actor of it?”

I’m the first to say that modern adaptations of Shakespeare need to do something different to justify their place in today’s theatre ecology. Lord knows there’s been enough traditional renditions of his work, and still they come, and even if there are always going to be people coming for the first time, there’s also a real need to make his plays speak to contemporary society in a way that is unafraid to challenge his reputation. It is perhaps no surprise that it is female directors and directors of colour who are at the forefront of doing just that and there have been four key examples in London most recently – Jude Christian’s othellomacbeth at the Lyric Hammersmith, Kwame Kwei-Armah and Shaina Taub’s Twelfth Night at the Young Vic, Brigid Larmour’s Much Ado About Nothing at the Watford Palace and Josie Rourke’s Measure for Measure at the Donmar.

And of course, having demanded that this is what directors do, I found myself disappointed at the majority of these, for some of the same reasons and some different ones too. Perhaps the most formally daring is Christian’s othellomacbeth which smashes together the two tragedies to create something which ends up less than the sum of its constituent parts. Its intentions are certainly noble, seeking to highlight the female voices in these plays and give them prominence. But the reality is that in the two substantially reduced treatments here, everything becomes diminished, not least narrative clarity. There’s one cracking idea which connects the two, which you suspect might have inspired the whole production, but ultimately, it is not enough to hang the whole thing on. Continue reading “Blogged: shaking up Shakespeare”

Casting news aplenty!

I round up some of the recent casting news, including Queen Margaret at the Royal Exchange, Wasted at the Southwark Playhouse, Measure for Measure at the Donmar and The Woods at the Royal Court.

Shakespeare wrote more lines for Queen Margaret than he did for King Lear yet we know very little of her. Jeanie O’Hare re-acquaints us with one of Shakespeare’s major but rarely performed characters in her new play Queen Margaret. In a production that draws on original language from Shakespeare, director Elizabeth Freestone and Jade Anouka as Margaret, retell an iconic moment in British History through the eyes of the extraordinary Margaret of Anjou. This captivating exploration of The Wars of the Roses seen through the eyes of this astonishing, dangerous and thrilling woman opens the Royal Exchange’s Autumn Winter 2018/19 Season.

Anouka is joined by Islam Bouakkaz (Prince Edward/Rutland), Lorraine Bruce (York), Samuel Edward-Cook (Suffolk/Clifford), Dexter Flanders (Edward IV), Helena Lymbery (Hume), Lucy Mangan (Joan of Arc), Roger Morlidge (Gloucester), Kwami Odoom (Somerset/Richard), Bridgitta Roy (Warwick) and Max Runham (Henry VI). Continue reading “Casting news aplenty!”

Review: Imogen, Shakespeare’s Globe

“Is there no way for men to be, but women must be half-workers?”

Whichever way you cut it, I still find that Cymbeline is a tough play to love and it’s not for a lack of trying on my part. I struggled with it at the Sam Wanamaker earlier this year and I’ll be trying out the RSC’s version once it hits the Barbican later this month. As for now, it’s Matthew Dunster’s turn to have a go at the play, this time outside at the Globe and in keeping with the new regime, the play has been “renamed and reclaimed” as Imogen, as befits the part of Cymbeline’s daughter who has in fact twice as many lines.

Even with Maddy Hill (an unexpectedly moving Titania, among others, in Go People’s A Midsummer Night’s Dream) in the title role and a wonderfully diverse ensemble incorporating a signing deaf actor among others, Imogen remained difficult. For all the contemporary gangland setting (Jonathan McGuinness’ king is now a drug lord), Imogen’s o’er-hasty marriage to the feckless Posthumus (a good Ira Mandela Siobhan) and subsequent devotion to him even as he proves himself to be a righteous cock doesn’t quite fly. That said, the energy in the show is one that proves largely irresistible as sexy shenanigans, modern sounds, and kick-ass choreo combine to memorable effect. Continue reading “Review: Imogen, Shakespeare’s Globe”

Review: The Drowned Man – A Hollywood Fable, Temple Studios

“Keep your masks on and remain silent at all times”
Such is the instruction as you enter the cavernous former Royal Mail sorting office in Paddington which has been transformed by the Punchdrunk team into Temple Studios, the venue for their biggest show to date – The Drowned Man: A Hollywood Fable. If you’ve been to a Punchdrunk show before, then this will come as no surprise to you (the masks are just as uncomfortable for glasses-wearers); if it is your first, then you should be prepared for something completely different (the masks will still be hot and uncomfortable!) 
Co-directors Felix Barrett and Maxine Doyle are genuine pioneers of the style of site-specific immersive theatre that seems almost everyday now, yet their ethos is one which still manages to surprise people. They’re in the business of theatrical experiences rather than regular plays and so one should never approach one of their shows looking for traditional presentations of conventional narrative. Instead, the onus is on the audience to locate their own journey through the world that has been created, and find their own unique adventure.
That’s not to say that it is always successful but rather to locate any critique in the relevant context. The experience of exploring around four large floors without any guarantee of coming across any ‘action’ will naturally not appeal to everyone, but to criticise a lack of story is a misjudgement as that is not what they are trying to achieve here. The Drowned Man may be inspired by Büchner’s Woyzeck but this a fractured, fragmented version of the source material: scenes or segments just appear into view in a random, unannounced fashion, scattered and refracted like pieces of a kaleidoscope and ultimately unified, if at all, only by being part of one’s own journey through the show.

From exploring the near-deserted expanse of basement dressing rooms to seedy sex cinemas, lunar landscapes to trailer parks in forest clearings, sleazy audition chambers to motel rooms stinking of desperation, the sheer variety and exquisite detail of every single nook and cranny of this substantial space is quite something to behold and offers lots of opportunity for (some possibly verboten) playing around as the picture suggests… And the sequences I happened across held some powerfully intriguing moments too – the best for me happening in Studio 5 with the filming of a perky dance routine degenerating into a violently raunchy threesome and a later return trip there also resulting in another effective scene – regular Punchdrunk artist Conor Doyle giving some excellent work here. 

But a sense of adventurous exploration – we were even clambering on our hands and knees at one point – can only take you so far, especially at the times when it seems like nothing is happening nearby. The feeling of frustration can creep in as you cycle round the same area to little effect, especially when it is as sweatily hot as it was the night we were there (the ground floor bar – pictured – offers a much welcomed cooler environment, complete with live music, if you decide to give yourself an interval), and too many of the segments we witnessed reiterated the similar theme of sexual exploitation without suggesting much more besides – one shouldn’t really be left thinking ‘not another polysexual orgy…”. 

And the dynamics of an audience let loose in this way can sometimes be as exasperating as they are often amusing to watch. For all the talk of this being an imaginative journey for the individual, the way in which the herd mentality kicks in is quite remarkable. The minute a small cluster appears, then people start running to join in, convinced there must be something there – the most amusing incident of this resulted in us breaking the Matrix as the mysterious banging on the door turned out to be someone trying to get out of one of the dressing rooms for the performers – and the determination of some people to always be at the front of what is happening is sadly predictable. 

With some tickets coming in at £50, The Drowned Man does feel ambitiously steep and as unique as the experience may be, it might be hard to justify quite so much for this show, its constituent parts may feel a little underwhelming in an instant analysis. But challenging as it is, there really is something genuinely original in its desire to push us as audience members and redefining just what is to be at the theatre. Everyone should experience at least one Punchdrunk show in their life, even if it is just to confirm that it is not the kind of thing that they like and for all its highs, lows and longueurs, it has been a production that I’ve continued to think about even now, days after I went. Sprawling, big, bold, there’s nothing else like it.

Running time: anything up to 3 hours 
Booking until 30th December 
Note: comfortable shoes are a must and check in your bag at the cloakroom, you do not want to be carrying it around with you, especially in the more crowded areas