“And what’s he then that says I play the villain?”
Early February and I’m already on my second Othello of the year. Not only that, it’s the second one to both modernise it and condense the play down to well under two hours. But where Frantic Assembly moved the action in the violence of northern gang-life, Time Zone Theatre relocate it to the cut and thrust of corporate office politics and director Pamela Schermann goes even further in slimming the cast down to five bodies (plus Bianca’s voice Skyping in).
It’s a bold reimagining – especially in a venue as soaked in archaeological significance as the Rose, Bankside – but one that pays off. Stripped off pretty much every sub-plot, the story becomes one of cut-throat careerism, the promotion that Iago is passed over for thus a much more recognisable one and represented simply but effectively by the relative plushness of an executive office chair (astute design from Gillian Stevenson) in which people will kill to sit. Continue reading “Review: Othello, Rose Bankside”
“This is a match that I wouldn’t encourage
Gwen wants a man, not a piece of lost luggage”
Musical adaptations of Oscar Wilde’s The Importance of Being Earnest
actually have a strong pedigree as a rather smashing version played at the Riverside Studios a couple of years ago but it is now the turn of Phil Jacobs to have his own stab as The All in One Theatre Company present his take on Ernest
at Camden’s Etcetera Theatre. Filleted down to a single sprightly hour and liberally sprinkled with musical interludes, it is an undoubtedly chirpy and charming take on the story which ought to feel at home on fringes and in festivals across the land.
Jacobs has kept the basic structure of the play, in which Jack Worthing invents a roguish persona called Ernest in order to secure the hand of the fragrant Gwendolen Fairfax who will only marry a man of said name but finds his plans led awry by the arrival of his friend Algernon Moncrieff who is also posing as Ernest, in order to win the heart of Jack’s ward Cecily Cardew. A framing device of a modern version of Jack delving into the world of role-playing games doesn’t really pay off but nor does it really affect matters as Pamela Schermann’s production steams merrily on.
Samuel Harris provides an excellent anchoring strength as Jack, sweet of voice and lithe of stage presence, he is consistently good in a production that sees him rarely leave the stage but he is best when bouncing off of Linford Hyde’s louche muffin-munching Algernon. Hyde’s delivery is brilliantly done, almost cattish in its sharpness and comicly timed to perfection – a line about cufflinks is surely one of the funniest of the year. Ella Duncan’s spirited Cecily is good fun and whilst Cassandra Foster’s Gwendolen is prissily fine, she does play it a little straighter than the others.
Continue reading “Review: Ernest, Etcetera Theatre”