I’m loving this deep dive that the Guardian is doing into Tristram Kenton’s archive, this time taking a turn into the many Open Air Theatre productions he has been witness to. Highly recommended:
Photos: Tristram Kenton
“For whatever reason, he spared a hamster”
When you see as much theatre as I do, it can be difficult to keep up to date with cinematic releases – if I have a night off, I rarely want to spend it in a dark room… – but I have tried my best this year to see at least some of the Oscar-nominated films, so that I can chip in once they’ve been distributed in a way that will doubtless cause some controversy or other.
Continue reading “2017 Oscars – pre-ceremony thoughts”
“That seeming to be most which we indeed least are”
Despite being one of Shakespeare’s more notorious plays, The Taming of the Shrew has enjoyed a long and varied performance history as productions seek to try to present this difficult tale of female subservience in a way that is acceptable to audiences. It has proved trickier though in modern times to square the misogynistic circle and so directors often find themselves upping the innovative ante to unearth interpretations which will prove satisfyingly revelatory. What this often means in practice though is that a high concept is adopted which offers insight into part of the story whilst the rest is left straining to fit in. Lucy Bailey is the latest to try and tame the Shrew here for the RSC in a production which has played a season in Stratford and is now on a short tour of the UK, currently here in Richmond.
The angle that she chooses to focus on is the Induction, the framing device that sets the story in its context – this is all just a performance being put on by a rowdy bunch of friends to delude the drunken fool Christopher Sly. Sly – a bumptious revealing turn from Nick Holder – is kept on stage throughout most of the first half and in some ways, this almost convinces us that what we are watching is but a drunken fantasy. But he is gradually phased out of the show, and so the apparent importance of being reminded that this isn’t real is stripped away and the second half played largely straight as a story that suddenly is to be taken more seriously. Continue reading “Review: The Taming of the Shrew, Richmond Theatre”
In lieu of Mr Cowan’s (twice winner of this category) highly unfortunate ineligibility (due to the fact I haven’t seen him onstage this year), I was toying with the idea of renaming this award along the lines of The Elliot Cowan Award for Hotness, (cue bonus pic)
but thought better of it. In any case, I present to you the winner, and then the 9 runners-up in no particular order of the men (so many of whom called Dominic) who made going to the theatre so much, somewhat less of a trial. This has also regularly been one of the most popular posts I do each year, shame on us all!
Continue reading “Leading Man of the Year 2011”
“Thou art all deformed”
The programme for the Southwark Playhouse’s latest main house production, The Changeling by Thomas Middleton and William Rowley, starts off with an honest explanation of the difficulties in staging such a dialogue-heavy work so full of asides and freely admits it is taking a risk in the approach they have adopted, which is to use voiceovers. Such candour is perhaps bravely admirable but in this case, it is a risk that does not pay off as The Production Works’ reimagining of the classic sadly falls short in a number of areas.
Beatrice-Joanna is engaged to Alonzo, hotly in love with Alsemero and stalked by her disfigured servant De Flores and such is the strength of her burning desire and the desire she provokes in others that in order to pursue the second she engages the third to get rid of the first. This production focuses on this twisted love triangle and completely does away with the comic subplot, thus bringing in the show at an interval-less 90 minutes but making the tone of the play unremittingly dark. Continue reading “Review: The Changeling, Southwark Playhouse”
“You will always be a vulgar slut”
The Beggar’s Opera written by John Gay in 1728 was the first example of the ballad opera, perhaps the forerunner to today’s jukebox musicals in folding in pre-existing tunes to a satirical narrative that poked fun at the ever-popular Italian operas that were all the rage. Gay set his play in amongst the lowlifes of society, our main protagonist Macheath is a highwayman and raging lothario and the slowly twisting plot follows his shenanigans as he gets married to Polly Peachum, despite having gotten Lucy Lockit pregnant, unaware that the parents of both are part of a corrupt justice system that would happily see him hang so that his reputed fortune would come to them. Lucy Bailey directs this production which takes place in the elegant Open Air Theatre in Regent’s Park.
The overall impact is somewhat underwhelming though, the score not really proving to be melodically distinct enough, nor the story witty or moving enough to really crackle with life. For 2 hours 40 minutes, there is very little to the plot and much of the running time is taken over by the 69 songs that are sung throughout the show. Though mostly sung well, these rarely progress the action but rather arrest the flow and as the vast majority of them fall neatly into the English folk ballad category, there’s a gnawing sense of repetition that sets in. And even when there is no singing, there’s little vibrancy or energy on stage, movement director Maxine Doyle of Punchdrunk has introduced a rather sluggish pace and Bailey’s direction does not draw out enough of the comedy from the productions or her performers. Continue reading “Review: The Beggar’s Opera, Open Air Theatre”
“If it were done when ’tis done, then ’twere well it were done quickly”
And first a moan. I’d intentionally booked front row seats for this back in December, so upon arrival I was a little surprised to find that there was another row of seats in front of ours, row AA which is set a little closer to the ground but with nowhere near sufficient a rake to prevent people’s heads being seriously in the way. This extra row was added in to sell extra tickets due to it being a sellout and whilst I’m happy for the Barbican with their success here, I’m most annoyed that it subsequently affected my enjoyment of the evening.
Cheek by Jowl return to London with their interpretation of Macbeth, Shakespeare’s examination of the cost of chasing power and limitless ambition without responsibility, using their trademark inventiveness to create an otherworldly experience. Setting up in the Silk Street Theatre at the Barbican, there is excellent use of the space throughout the play: the opening haze-filled scene seems to take place in a seemingly endless void, later on the rear wall is used most effectively with spotlights and shadows thrown up. So much is left dark or in shadow, the audience is left to let their imagination fill in the gaps. Continue reading “Review: Macbeth, Cheek by Jowl at the Barbican”