“Keep your sex and rock’n’roll
But leave the drugs, I’ll take them all”
Queer, faggot, poof, shirtlifter…it’s the kind of language that is thankfully becoming rarer in public discourse and yet, it still creeps in with an alarming regularity that means it will be a long time before it truly becomes verboten in a similar manner to the n-word. I raise this as Richard Bean’s recent playwriting is particularly guilty of this – Great Britain had multiple references (though with no published script, I can’t quote ‘em), Made in Dagenham had a handful of faggots and his version of The Hypochondriac features poofs and AIDS jokes, delivered without irony in front of a replica of Gilbert and George’s Spunk Blood Piss Shit Spit.
The arguments are easily made – ‘oh, that is what people said in today’s tabloid offices/1970s factories/sixteenth century France’ – but the worry, for me, comes in the audience reaction and the legitimisation that is implicit in the inclusion of such language in a comedic environment. It is an assumption I’m making but it really doesn’t feel like the laughter that comes from a character being labelled a faggot or poof comes from a good place, or any kind of interrogation of what it means to use such words. Continue reading “Review: The Hypochondriac, Richmond Theatre”
“No-one wants to be in calm waters all their life”
Anyone who has read this blog for a wee while will know I’m a sucker for a thesp-heavy cast but not even could have come up with the manifold delights of the ensemble for this 1995 version of Persuasion. Directed by Roger Michell and adapted by Nick Dear, it features Amanda Root and Ciarán Hinds as Anne Elliot and Frederick Wentworth, a once-engaged couple who were pulled apart by societal pressure as he was but a penniless seaman. Eight years later, Anne’s family is struggling to maintain their aristrocratic lifestyle due to overspending but Wentworth is now a captain and highly sought after – might their love be reunited after all? Watch this space…
Root and Hinds are both excellent with hugely subtle performances suggesting the depth of emotion each holds, unable to express how they truly feel and buffeted around a range of alternative marriage proposals as everyone tries to secure the best possible situation for themselves. But real pleasure comes too in the supporting performances, seeing such fantastic actors earlier in their career and tracing something of a journey in their acting careers. Continue reading “DVD Review: Persuasion (1995)”
“My ear is much enamoured of your note”
I’m nothing if not predictable, so despite having been distinctly underwhelmed by the Shakespeare on 3 productions and sworn off the Bard on radio, the replay of this version of A Midsummer Night’s Dream on Radio 3 was irresistible to me as I just could not resist the spectacular cast assembled.
I’d been warned in advance that Lesley Sharp didn’t sound like herself in this as Titania and it’s true, but the precisely mannered intonation she adopts works really well here and made me long to see her back on stage. Toby Stephens was serviceable as Oberon but I did enjoy Freddie Fox’s impish Puck. And as the troublesome lovers, Joseph Timms and Ferdinand Kingsley, and Emerald O’Hanrahan and Anna Madeley were all nicely characterful. Continue reading “Radio Review: A Midsummer Night’s Dream, Radio 3”
“Tis not, I know, my lust, but tis my fate that leads me on”
A quick glance at my Top 25 Plays of 2011 on the right sidebar will show you that Cheek by Jowl’s The Tempest was one of the absolute highlights of my theatregoing year and so by rights, I ought to have been highly excited for the company’s return to the Barbican with ‘Tis Pity She’s A Whore. But it was the Russian sister company that took on Shakespeare last year and my only other experience with CbJ’s English work was a rather painfully dull take on Macbeth, also at the Barbican, which meant I was a little equivocal about this prospect. Great word-of-mouth persuaded me to take the risk though, booking for late in the run, and it was well-founded as it turned out to be a highly inventive, energetic and deeply sexy evening at the theatre.
It was my first experience of the Jacobean tragedy, a cautionary tale about the problems of wanting to bonk your sister, which has been thoroughly revitalised in this modern-dress version which pulses along with the punchy soundtrack that starts the show along with a rather fun full-cast dance routine. Giovanni comes back from university, full of incestuous thoughts about his sister Annabella who is being pursued by a number of suitors. But as it turns out, she only has eyes for her brother too and though she ends up betrothed to Soranzo, watched by the vengeful Hippolita, the ramifications of their love have a deadly impact as religion, culture, corruption and morality collide. Continue reading “Review: ‘Tis Pity She’s A Whore, Cheek by Jowl at the Barbican”
“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”