Nicholas Hytner gives us an utterly inspired take on A Midsummer Night’s Dream at the Bridge Theatre, with Gwendoline Christie in stupendous form
“Come now; what masques, what dances shall we have”
You can tell a lot about a production of A Midsummer Night’s Dream from the way it treats its Hippolyta. Possessed of so few words, her presence is nevertheless vital for setting the tone of the play and from the moment you walk into the Bridge Theatre, you just know Nicholas Hytner has got it right. This conquered queen is caged in a glass box, as if an artefact in some grotesque museum and as an impassive Gwendoline Christie fixes us with her stare, it’s a definitive commentary on the gender politics here before we’ve even started.
But even once the play starts, her power is no less unremarkable. As Hermia claims she knows not by what power she is made bold, one look at Hippolyta’s hand against the glass leaves you in no doubt of the source of her new found confidence. Small but powerful changes that set the scene perfectly for Hytner’s most striking innovation which, as it reveals itself in the following act, proved to be one of the most thrilling ways to re-infuse excitement into this oft-performed classic. Continue reading “Review: A Midsummer Night’s Dream, Bridge Theatre”
“I don’t want them dripping their filthy compassion over me”
Lonely teachers seem to be a bit of a recurring theme for Simon Gray – after Dominic West’s grizzled turn in Butley, we now get Rowan Atkinson slipping into obscurity in Quartermaine’s Terms. The play stretches over a couple of years at a dodgy English language school for foreign students in 1960s Cambridge and follows the relationships between the seven teachers as they all deal with their various crises that leave them feeling alone. The play carries a melancholy weight as understated tragicomedy is the dominant theme here but it is so muted, so low-key that it never really accrues the dramatic heft to make it matter.
Part of the problem lies in the constant referencing to Chekhov and his plays – aiming for Chekhovian depths sets a very high bar and for me, it just never reaches that level. It’s not a matter of acting – the company is full of some excellent actors and the way Gray has structured the play means that most of them get their moment to shine as their issues come to the fore. But their characters are all such social misfits that it is hard to really gain an interested foothold in their lives, even the main thrust of the play – Quartermaine’s increasing social isolation – somewhat works against this sort of engagement. Continue reading “Review: Quartermaine’s Terms, Wyndham’s”
“You will not menace the House of Windsor”
Lucy Cohu has the dubious pleasure of being one of the few women I would probably turn for, she radiates an old-school glamour and sensuality that I find near-irresistable and I’ve loved the few stage performances of hers I have been able to catch (Speaking in Tongues, Broken Glass and A Delicate Balance). So I was quite happy to take in the Channel 4 television movie The Queen’s Sister, in which she took the lead role of Princess Margaret, in the name of the Jubilee Weekend 😉
It’s a semi-fictionalised account of her life by Craig Warner (although knowing so little of the reality, I couldn’t have told you what was real and what wasn’t) which focuses on her struggles against the establishment as she followed a life of largely wanton hedonism and leaving a trail of paramours behind her. Whether her previously married lover whom she was forbidden from wedding, the long-suffering husband prone to infidelity, the young pop singer who offers a faint hope of redemption, her relentless partying, fondness of always having a drink in her hand and general spoiltness consistently makes life difficult for herself.
Continue reading “DVD Review: The Queen’s Sister”