“Edmund Reid did this”
As I might have predicted after the soaring heights of Series 3, the fourth season of Ripper Street didn’t quite live up to its forerunner. Then again, how could it after the epic sweep of the storytelling had so much of the finale about it in terms of where it left its key characters – Matthew Macfadyen’s Reid, Jerome Flynn’s Drake, Adam Rothenberg’s Jackson and MyAnna Buring’s Susan – picking up the pieces to carry on was always going to be difficult.
To recap, Reid had given up the police force after being reunited with his previously-thought-dead daughter Mathilda, and Susan’s momentous struggle against the patriarchal strictures of society (and also the nefarious entanglements of her actual father) saw her and Jackson end up behind bars, having also drawn Reid and the promoted Drake into the exacting of an individual kind of justice. Continue reading “TV Review: Ripper Street Series 4”
“It will make the man mad, to make a woman of him”
It is nigh on impossible to put on a production of The Taming of the Shrew these days without first considering how to solve the issues that lie at the heart of this problematic play. Last year saw the Globe play it for laughs hugely successfully and it also saw the RSC up the erotic ante with less effective results, we now get the all-male Propeller interpretation in London which takes a yet different route into one of Shakespeare’s more difficult works. In direct contrast with their take on Twelfth Night, there is a marked lack of sexual attraction in this world, instead this is firmly a tale about power and control and just how brutal the male exercising thereof can get.
Ed Hall’s production plays up the framing device of Christopher Sly’s drunken shenanigans and firmly locates the main body of the story, of Petruchio’s brutish diminishment of the spirited Kate, in the play-within-a-play. This is achieved mainly by the rather nifty device of having Sly himself co-opted into being part of the play put on for his benefit – Vince Leigh’s sizzled tinker morphing into a viciously virile Petruchio who then becomes the calculatingly hard focal point, failing to realise just what is being revealed of his true self in the telling of this tale. Continue reading “Review: The Taming of the Shrew, Propeller at Hampstead”
“Ay marry, what is he?”
It’s over six months since Propeller started their most recent tour and so a similar amount of time since I saw Twelfth Night back in Guildford, a production I enjoyed immensely and ranked as my 13th favourite of the year. And as is now their wont, their tour makes a late stop at Edward Hall’s London abode at the Hampstead Theatre for an extended stay where both their productions (The Taming of the Shrew is the other this time round) will play in rep. Getting to revisit a show like this is something of a luxury and a rare opportunity at that, I ummed and aahed briefly about booking again but the lure of the front row was too strong for me to resist.
And I am glad I went back for seconds, for this really is my kind of Shakespearean comedy. Not so much in the all-male playing of it but rather in the restraint with which it goes for the laughs, concentrating instead on a tone of sustained melancholy. In emphasising the bittersweet notes as it does – from the start, it is clear Liam O’Brien’s Feste prefers a more mournful ballad – the play is given, for me at least, a greater sense of depth. A real feeling of loneliness, pain and bitterness to so many of these characters creates an ideal counterweight to the broad humour once it comes and makes us feel their ups and downs so much more. Continue reading “Re-review: Twelfth Night, Propeller at Hampstead Theatre”
“What kind of woman is’t?”
In what is now a bit of a tradition (although I was abandoned by my usual partner in crime), late November sees me travel to the Yvonne Arnaud theatre in Guildford, as it has become one of the first places that Propeller visit as they commence their lengthy tours around the UK and beyond. Indeed my first ever Propeller experience was here with the frankly outstanding Richard III, which with The Comedy of Errors made for an incredible introduction to this all-male company. The most recent double bill of Henry V and The Winter’s Tale didn’t quite live up to that billing for me, despite still being some of the most imaginatively reinterpreted Shakespeare I saw all year, and so there was no doubt I would continue to make the pilgrimage to Surrey.
This time round, they are revisiting their 2006/7 productions of The Taming of the Shrew (which will start performances in late January) and Twelfth Night which commenced earlier in the month and which I saw at this midweek matinée. And from the lowering storm clouds that form the ever-present backdrop, it is clear that this is going to be no fluffy romp but rather a bittersweet take on Shakespeare’s rich comedy of frustrated love and sexual confusion. Sure, the production is full of the raucous innovation that Propeller bring to their reassessment of the Bard’s work and so we have here – amongst many, many other things – boxing matches, the La’s, tap dancing, nose flicking, and shirtless moving statues. Continue reading “Review: Twelfth Night, Propeller at Yvonne Arnaud”
“When I die I want to be able to say this, ‘I never did anything violent’”
Paired with Around the World in 80 Days as part of the free theatre season at The Scoop at More London, Brecht’s The Mother is a little performed play from 1932 telling of a woman living in a Russia on the cusp of revolution who is forced into a new world of political activism when she sees how her own activist son is treated by the authorities. As she meets with his friends and begins to engage with their agenda, she finds herself on a journey of personal growth, as she finally learns to read and as her political consciousness is awakened and becomes impassioned, she becomes a figurehead for the movement that her son is part of.
Though it is a story that is ultimately advocating Communism, the decision to keep the setting fairly loose and not tethered too tightly to its original time and location frees it up hugely and consequently scores a huge resonance in its examination of the issues around political dissidence and the right to demonstrate in public, particularly for young people. Ravenhill’s translation has a punchy directness and humanity that gives the political discussion a very relatable dimension through the figure of ‘The Mother’, played with tireless grace by Nicky Goldie, her concern for her son accompanied by a growing outrage at how she perceives society to be rotten and pushes for change. Continue reading “Review: The Mother, The Scoop at More London”
“Everybody dreams of a little adventure”
As part of the free theatre available at The Scoop at More London which is now in its 9th impressive year, Around the World in 80 Days is a streamlined version of Phil Willmott’s original production for the Battersea Arts Centre 10 years ago which truncates the action in 75 swift minutes, accompanied by a suite of catchy original songs by Annemarie Lewis Thomas. It is freely adapted from Jules Verne’s novel and so whilst the shape of Phileas Fogg’s journey, the result of a wager to traverse the globe in an unheard-of 80 days, remains the same, the action is enlivened with highly recognisable figures from Victorian England passing comment on his progress.
It is fast and furious and lots of good-natured fun. Eugene Washington’s stern Fogg is tempered by the lovable antics of Joseph Wicks’ Passepartout, his able assistant, and when they rescue the Princess Aouda – a personable turn from Suzanne Ahmet – from an Indian funeral pyre, even Fogg’s stony heart begins to melt as his eyes are opened to the vast cultural influences to which he is exposed as they journey through Asia – helped memorably by a grumpy elephant through the Indian jungle, mounted with great style – and then through the USA – with a great song set in Salt Lake City which predates The Book of Mormon by at least a decade! – before trying to make it back in time to England to settle the bet. Continue reading “Review: Around the World in 80 Days, The Scoop at More London”