“Let not light see my black and deep desires”
Carrie Cracknell and Lucy Guerin employed their dance-focused aesthetic on their production of Medea for the National Theatre last year and have now returned to it for this Young Vic, Birmingham Repertory Theatre and HOME co-production of Macbeth. It’s a unique approach which has moments of real visual acuity in Lizzie Clachan’s infinity tunnel staging but also pulls awkwardly at the play itself, dominating the verse to its detriment.
Which is a real shame, as a Macbeth with John Heffernan and Anna Maxwell Martin ought to have been a scorching thing, their interesting casting offering worlds of new possibilities for this old warhorse of a play. But Cracknell’s staging and Guerin’s choreography offers little room for them to explore their characters in a deeply satisfying way. Instead, a lack of palpable chemistry haunts their scenes whilst the dancing mainly distracts. Continue reading “Review: Macbeth, Young Vic”
“I will not hear thee speak; I’ll have my bond”
Following the exceptional Rupert Goold/RSC adaptation which played the Almeida over Christmas, it seemed a brave decision for the Globe to also lead their 2015 season with The Merchant of Venice but Jonathan Munby’s production proves to be just as revelatory, albeit in a completely different way. With Jonathan Pryce making his debut here at this venue, accompanied by his daughter Phoebe no less, it is no surprise that his beautifully realised Shylock is at the heart of the show here but it is also good to see Jessica (played by Pryce junior, natch) also take her turn in the spotlight.
In some ways, this echoes the Al Pacino version, showing us how Jessica is cruelly caught in the middle – torn between duty to her father and her Jewish faith, and the delight that a genuine love match with Ben Lamb’s Christian Lorenzo brings to her life. This conflict is fiercely felt – she argues ferociously in Yiddish with her father but there’s no doubting the haunting anguish of the production’s end, her Hebrew lament powerfully affecting as Shylock faces yet another disgrace as we’re reminded that – even if she has shunned him – it is still a familial bond being sundered here. Continue reading “Review: The Merchant of Venice, Shakespeare’s Globe”
“People are saying you only made silk because you’re a woman and from Bolton”
The joys of Netflix allowed me to quickly move onto Series 2 of Silk in perfect time before the third, and final, series hit BBC1, and it remains an excellent piece of television, a quality legal drama blessed with some cracking writing, a stellar leading cast, and a revolving ensemble which continues to draw in the cream of British acting talent to give their supporting roles and cameos. The series kicks off with Maxine Peake’s Martha having ascended to the ranks of QC whilst Rupert Penry-Jones’ Clive languishes in her slipstream, and the dynamics of their relationship form a major driver of the narrative.
Her adjustments to her new role and responsibilities are fascinatingly drawn, especially as she negotiates the ethics of working with a notorious crime family and their shady legal representation. And his pursuit of that exalted status of QC as he stretches himself professionally to take in prosecutions, as well as Indira Varma’s attractive solicitor, is challenged when he overreaches himself in a particularly pressing case. As ever, individual cases fit into each episode as well, but these wider storylines are where the real interest comes. Continue reading “DVD Review: Silk, Series 2”
“I would love you if I could”
Are certain of Shakespeare’s plays done to death whilst other neglected? When asking a friend, with whom I caught up briefly this week, what he was going to see this week, my response to him saying As You Like It was ‘which one?’. This may actually be the only production currently running in London – though I did take in the Royal Exchange’s modernised version on my trip to Manchester last month – but it does feel we are never too far away from As You Like It in one shape or another.
This particular production, which has played a few dates at Shakespeare’s Globe in the midst of a considerable UK and Europe jaunt, has the similar small-scale touring feel to the Hamlet that opened the Globe’s season this year with a small cast of travelling players – here in Victorian dress – covering all the roles and providing the musical accompaniment, all from the large wooden box that dominates, and forms an integral part of, the stage. Continue reading “Review: As You Like It, Shakespeare’s Globe”
“For some must watch, while some must sleep”
So part two of the Hamlet week saw me making my first ever visit to Sheffield to the Crucible Theatre where director Paul Miller has reunited with frequent collaborator John Simm in tackling Shakespeare’s epic. I have resisted making any comparisons with the two productions in this review and tried my best to approach the writing of this review as if I had not seen the other.
This Hamlet is very much back to basics, very few props and frippery onstage, so that quite often what we are seeing is simply just a group of actors acting. And whilst on the one hand that was nice to see, on the other, it did mean that there was a whole lot of just standing around and the limited emotional palette with which they had to work meant that too often the connections just weren’t there between the characters, Ophelia and Laertes might as well have been strangers for example. Continue reading “Review: Hamlet, Crucible”