“Few love to hear the sins they love to act”
A New Year, a new chance for the Sam Wanamaker Playhouse, a venue that critics love to describe as beautifully atmospheric because they’ve never had to sit anywhere apart from the good seats that press agents put them in. For it is a difficult theatre for the regular theatregoer – recreating as it does the candlelit ambience of a 17th century indoor playhouse, it also has that (possibly) Jacobean feature of premium seating at over £60 a pop. At the other end of the scale, £10 standing spots are available in the upper gallery but there, one has to deal with considerably restricted views.
As a result, it’s thus been a theatre I’ve easily decided not to frequent that often – the levels of discomfort in the backless seats not endearing me much either – but the lure of the last Shakespeare play I’ve yet to see in Pericles and Rachael Stirling, John Light and Niamh Cusack in The Winter’s Tale has tempted me to bite the bullet. That said, I will be unflinchingly honest about the experiences, as it is a theatre where you want to be forearmed with as much knowledge as possible. For reference, I saw Pericles from standing spot D32 in the upper gallery. Continue reading “Review: Pericles, Sam Wanamaker Playhouse”
“I will not hear thee speak; I’ll have my bond”
Following the exceptional Rupert Goold/RSC adaptation which played the Almeida over Christmas, it seemed a brave decision for the Globe to also lead their 2015 season with The Merchant of Venice but Jonathan Munby’s production proves to be just as revelatory, albeit in a completely different way. With Jonathan Pryce making his debut here at this venue, accompanied by his daughter Phoebe no less, it is no surprise that his beautifully realised Shylock is at the heart of the show here but it is also good to see Jessica (played by Pryce junior, natch) also take her turn in the spotlight.
In some ways, this echoes the Al Pacino version, showing us how Jessica is cruelly caught in the middle – torn between duty to her father and her Jewish faith, and the delight that a genuine love match with Ben Lamb’s Christian Lorenzo brings to her life. This conflict is fiercely felt – she argues ferociously in Yiddish with her father but there’s no doubting the haunting anguish of the production’s end, her Hebrew lament powerfully affecting as Shylock faces yet another disgrace as we’re reminded that – even if she has shunned him – it is still a familial bond being sundered here. Continue reading “Review: The Merchant of Venice, Shakespeare’s Globe”