The full cast has been announced for the West End transfer of Robert Icke’s new adaptation of Mary Stuart. Following a critically acclaimed, sold out season at the Almeida Theatre in 2016-17, the production will open at the Duke of York’s Theatre from 15 January for a limited run before visiting
Theatre Royal Bath, Salford Lowry and Cambridge Arts Theatre.
As previously announced, Juliet Stevenson and Lia Williams reprise the play’s central roles. Also reprising their roles are Rudi Dharmalingam (Mortimer), David Jonsson (Davison), John Light (Leicester), Carmen Munroe (Kennedy), Eileen Nicholas (Melville) and Daniel Rabin (Kent).
Joining the cast are Michael Byrne (Talbot), Christopher Colquhoun (Paulet), Calum Finlay (Aubespine) and Elliot Levey (Burleigh).
Two queens. One in power. One in prison. It’s all in the execution.
Schiller’s political tragedy takes us behind the scenes of some of British history’s most crucial days. Playing both Elizabeth I and Mary Stuart, Juliet Stevenson (Hamlet) and Lia Williams (Oresteia) trade the play’s central roles, decided at each performance by the toss of a coin.
Get your tickets here and have a read of my review from the Almeida here.
“I shall not look upon his like again”
My lack of willpower when it comes to theatre is infamous, even more so on the rare occasions when I get invited to be someone’s plus one, with the responsibility of filing my own review lifted from the shoulders for once. Thus I found myself at the Harold Pinter for the transfer of the Almeida’s Hamlet, a production I enjoyed immensely on the two occasions I saw it in North London and whose charms I wasn’t entirely sure would translate to the larger theatre here.
Those fears were largely unfounded – the scale of the intimate family drama that Robert Icke has fashioned from Shakespeare’s ever-present tragedy amplifies effectively, and Andrew Scott’s deeply conversational style still resonates strongly (in the stalls at least) through the familiar verse, finding new readings and meanings. If I’m brutally honest, I don’t think I gained too much from this repeat viewing but that’s just my rarified position – it is still a thrilling piece of theatre and it’s a thrill to see it in the West End.
Running time: 3 hours 35 minutes (with 2 intervals)
Booking until 2nd September, Juliet Stevenson leaves the company on 1st July when she is replaced by Derbhle Crotty
“Most fair return of greetings and desires”
As follows many a sold out run with a high-profile cast, Almeida Associate Director Robert Icke’s new production of Hamlet transfers to the West End for a strictly limited season this summer (read my review here) from 9th June to 2nd September.
Starring BAFTA and Olivier Award winner Andrew Scott (Sherlock, Birdland, Cock, Pride) as the Danish Prince, Hamlet is brought to the stage by the critically acclaimed and multi-award winning creative team behind 1984 and Oresteia. And in further excellent news, the entire cast is making the trip to the West End (although Juliet Stevenson only until 1st July, no news yet on who might step into Gertrude’s shoes). Continue reading “The Almeida’s Hamlet transfers to the Harold Pinter”
“There is nothing either good or bad, but thinking makes it so”
The enduring image of Robert Icke’s Hamlet is family – the repeated motif of group of three cleaving together haunts the production as much as Hamlet’s father himself. From the instant and intense bond established between Polonius, Ophelia and Laertes, Icke makes striking emotional sense of the respective grief and ferocity of the latter two, powerfully played by Jessica Brown Findlay and Luke Thompson against Peter Wight’s twinkling charm as their father.
And Icke also gives the tragic visual of Andrew Scott’s Hamlet trying to rebuild his original family unit, joining hands with his mother and the ghost of his father in the midst of the closet scene, willing Juliet Stevenson’s Gertrude to see what he sees, to put things back the way they used to be. And in a stunning montage for the final scene, these trios reform, emphasising the innate happiness of one and the deep tragedy of the other. It is deeply, deeply felt. Continue reading “Review: Hamlet, Almeida”
“I am a native of Wolverhampton”
Molière in the modern day via the Midlands? Tartuffe is Roxana Silbert’s first production as Artistic Director of Birmingham Rep and sees her bring a distinctly local flavour to this classic French comedy. Chris Campbell’s new version dispenses with the rhyming couplets and crowbars in a ton of local references and fourth wall breaking to create a highly comic atmosphere, but one which sacrifices any sense of subtlety or depth of character for the quickfire laughs which feel more reminiscent of a panto than anything else.
My main reason for booking, aside from a trip to see the new theatre, was to see Siân Brooke, too long absent from our stages, but the main draw in the case is Mark Williams as Tartuffe, the religious hypocrite who inveigles his way into the household of self-made man Orgon, with designs on both his wife and his daughter. Not everyone falls under his spell though and the situation quickly turns farcical as they try to expose Tartuffe for what he really is, with Aston Villa scarves, jokes about HS2 and funny walks aplenty. Continue reading “Review: Tartuffe, Birmingham Rep”
“Hang the trifle, woman”
I think I only made it Stratford once last year, partly a consequence of so much of the RSC’s work playing in London as part of one festival or another, but once the casting was announced for The Merry Wives of Windsor, I knew I would be making the trip to the Royal Shakespeare Theatre once again. This production of Shakespeare’s comedy of middle-class trials and tribulations is in modern dress but the reference point is closer to the British sitcoms of the 1970s and 80s and as with many of those television shows, it has its high points and its low points.
Alexandra Gilbreath and Sylvestra Le Touzel were thankfully the production’s highlight as Mistresses Ford and Page respectively. I’ve long been a devotee of Gilbreath and she remains an utter joy to watch on the stage. Superficially she’s something of an Essex wife here but we soon see the playful intelligence that lies behind the animal print and there’s much to enjoy as she deploys her flirtatious verve and feminine wiles – her final costume nearly converted me I tell you. And the contrast against Le Touzel is well worked: though a doughtier figure born of country life, they make believable firm friends and there’s a lovely constancy to the emotiveness with which she speaks, she touches the heart just as effectively as she tickles the ribs. Continue reading “Review: The Merry Wives of Windsor, Royal Shakespeare Theatre”