“Follow that bassoon”
Much like 3D glasses at the cinema, whoever came up with the idea of close-fitting masks for Punchdrunk’s shows, clearly does not wear glasses. I had a devil of a time hooking them over the mask and into the elastic at the sides and making sure they were secure. It may seem like a little thing but when you’re spending three hours wandering round looking for things to watch, it becomes a little frustrating having to constantly ensure your glasses don’t fall off.
A collaboration between ENO and Punchdrunk, The Duchess of Malfi is an immersive production of John Webster’s story set to a new score by Torsten Rasch. Spread over three floors of a disused office complex in outer East London, it is a typical Punchdrunk production in that the audience is left to find their own story through their own experience as they wander unguided to find impromptu scenes taking place in all sorts of strange environments. Continue reading “Review: Duchess of Malfi, ENO & Punchdrunk at Great Eastern Quay”
I was pleased with myself when this play was announced because I paid attention in my piano lessons when I was 10 and I knew that the title was the mnemonic used for the notes of the treble clef (although I remembered it as football). Not being familiar with Every Good Boy Deserves Favour though, I found it quite a refreshing thing to watch, being something completely different to anything I had seen before. That said I am not sure if it was a complete success.
Joseph Millson plays a political dissenter locked up in a Soviet mental institution and shares a cell with another patient, played by Toby Jones, who believes he has a full orchestra in his head. The set-up with the orchestra being right there on stage is quite effective, and the sections where the characters interact with the orchestra were very funny, and the players played on very gamely in the face of some severe distractions. Where I felt this didn’t work however, was when the acting was just front-stage, the orchestra ended up being a distraction or vice versa. Continue reading “Review: Every Good Boy Deserves Favour, National Theatre”
The Revenger’s Tragedy is a Jacobean revenge play of dubious authorship but these day, attributed to Thomas Middleton. It is set in a decadent Italian court full of moral decay but in Melly Still’s new production here at the Olivier auditorium in the National Theatre, it has taken on a whole new lease of life.
The story is full of backstabbing intrigue and intricate plotting which required a lot of attention. Vindice is our hero of sorts, but he is determined to be revenged on the Duke, as whilst he’s seemingly a fine upstanding type, actually raped and pillaged the fiancée of Vindice a few years back. His home life is a little eventful too, his Duchess is a narcissistic, sexually voracious, hedonist who is lusting after her husband’s bastard son; and their other sons are a motley crew of bad’uns. One of them, the handsome Lussurioso, has decided to buy a lovely young woman from her mother, but she turns out to be the sister of Vindice. Thus, the scene is set for a strange mix of tragedy and comedy as we hurtle to the oh so very bloody climax. Continue reading “Review: The Revenger’s Tragedy, National Theatre”