“It’s made me very particular about my hyphen”
Spoilers, spoilers, spoilers. One of the difficulties of writing about shows is the balancing act between trying to give enough information to give a palpable sense of a production without giving away too much of it to preserve as much of its revelatory nature as possible. Major plot points are frequently given away in reviews, especially of classics (which always strikes me as a little arrogant, this idea that because the reviewer has seen the play 60 times doesn’t mean that the reader necessarily has – I loved the surprises that King Lear held for me when I saw it for the first time last year), but then the act of writing about theatre lends itself to detailed analysis which can’t afford to be coy.
The plot of Sutton Vane’s 1923 play Outward Bound hinges on a major revelation, not so much in a whodunit sense but rather in the direction that the play then takes. It comes fairly early in the show and so when debating this issue, my companion thought it would be ok to mention it in the review, but reading the blurb on the production, the enigma is preserved and I think I prefer it that way round. But I suppose there’s then an element of me having my cake and eating it here – in not wanting to talk about ‘it’, I’ve flagged up its presence something rotten! But anyhoo, to the show in hand. Continue reading “Review: Outward Bound, Finborough”
“You will take what Daddy gives you”
I have to start this review off with an apology to my Medieval History A-Level teacher Mrs Grist. Despite having spent two years studying the subject, and writing an extended essay on the Capetian King Philip Augustus (who appears as a young man in this play), precious little of the detail has remained in my head. Fortunately James Goldman’s The Lion In Winter, Trevor Nunn’s latest entry in his Theatre Royal Haymarket season, has a rather loose basis in history, coming from the Philippa Gregory-type school of soapy melodrama rather striving for historical accuracy, and so the vagueness of my recollections was just fine as this ends up being more of an Ayckbourn-style domestic conflict piece – Season’s Greetings but with a cast of historical royals instead.
Things get off to a rather shaky start with a huge amount of backstory text scrolling up the screen, which is surrounded by the cheapest-looking holly border straight out of a clip-art folder. It is a rather unwieldy way to convey a ton of information which if significant, ought to be clear anyway from strong playwriting. But in a nutshell, the play is set at Christmastime 1183 in the château of Chinon, Anjou in Western France where Henry II of England has kept his wife, Eleanor of Aquitaine, prisoner for a decade after she led a rebellion against him. Accompanying the warring couple are their three sons, Richard, Geoffrey and John, who are all competing for their father’s favour in order to be named his successor and their guest, King Philip II of France, whose half-sister Alais just happens to be Richard’s fiancée and Henry’s mistress. And for two and a half hour, they all jockey for position with each other, trying to work out who will end up on top. Continue reading “Review: The Lion in Winter, Theatre Royal Haymarket”