“Als ik, heel even maar desnoods, mijn masker zou afzetten en zou zeggen wat ik voelde of dacht, zouden jullie je razernij tegen mij keren”
Toneelgroep Amsterdam have made the Barbican their base pretty much every time they’ve visited London, so it was little surprise that is where their 2017 residency was announced. We say residency, the peripatetic nature and ferocious workrate of this Dutch company meaning that it contained three shows spread over six months (Roman Tragedies, Obsession, and this Ingmar Bergman double bill) all of which have managed to provoke strong opinions.
I’d be fascinated to know the reason behind choosing After The Rehearsal / Persona out of all of the shows in their considerable repertory (it also tours to Santiago, Chile and Washington DC). Created in 2012, it brings together two pieces written for the screen by the Swede into a long haul of an evening, close to three hours of occasionally impenetrable Swedish existential angst. It contains some of the directorial flourish that has made van Hove’s name, plus it stars the remarkable Marieke Heebink but there’s no denying I found it a challenge. Continue reading “Review: After The Rehearsal / Persona, Barbican”
“Watch what I do, not what I say”
So Series 4 of Jed Mercurio’s Line of Duty winds up to its insanely tense climax and once again it satisfies the requirements of event TV – giving some answers but withholding others, in the full anticipation of further seasons in which to explore the overarching stories that still remain. This did also mean that it didn’t quite push all of my buttons the way I would have liked for it to be as spectacular as the end to Series 3.
With the Caddy arc being resolved so thoroughly then, I very much enjoyed the fresh slate of AC12’s investigation of an entirely new case here (review of Episode 1 here). And Thandie Newton’s superbly slippery DCI Roz Huntley was an excellent antagonist, the potential framing of a suspect being only the beginning of the twistiest of tales that threatened to swallow up any and everyone around her, good or bad, corrupt or misogynist. Continue reading “TV Review: Line of Duty Series 4”
“Don’t make out I’m in the wrong”
After three superlative, and interlinked, series, one might have forgiven Jed Mercurio for leaving Line of Duty as it was. But the show has been a victim of its own slow-burning success and so a fourth series has arrived, with a plum Sunday evening slot in the schedule to boot and the good folk of AC-12 are once again with us. And having most cleverly toyed with its structure of featuring a high profile lead guest star in the previous series, the arrival of Thandie Newton as this year’s bent cop (or is she…) left us pondering how the hell are they going to top Series 3’s opening instalment.
Well, like this is how! The beauty of Line of Duty has been how it has increasingly embraced its batshit mental moments with the intense realism that comes from its peerless interrogation scenes. It is both silly and serious and it pulls it off with real élan – so much so that you don’t care how ridiculous it is that Vicky McClure’s Kate can still slide in to work undercover in police stations that are down the road from her own or that forensics guys apparently aren’t so hot at telling whether people are dead or not. Continue reading “TV Review: Line of Duty Series 4 Episode 1”
“Omdat het kan. Omdat ik me herinner hoe het voelde toen ik het ontdekte, van jullie twee. En ik wil haar laten zien hoe dat voelde.”
There is something hugely exciting about the way that Simon Stone works. His contemporary recasting of The Wild Duck ruffled some feathers when it played at the Barbican in October and now it is Euripides’ turn to be excavated and explored as Stone makes his directorial debut at Toneelgroep Amsterdam with a scorching interpretation of Medea. With Ivo van Hove as Artistic Director and a long-standing repertory company of immense talent, Toneelgroep are surely one of the most exciting companies around – hence my regular trips to Amsterdam to see them – and collaborating with Stone here simply enhances their prestige with such a punishingly powerful production.
Where Stone so fearlessly succeeds is in the discarding of any notion of classical fidelity, opting instead to distil the story to its very essence and then reframing it for modern audiences. So here, through improvisation work with the company, the age-old tale of Medea is interwoven with the true life case of Debora Green, a US mother who attempted to poison her husband and succeeded in killing two of their three children. The result is a combination that simply cannot be ignored, the dismissive unreality of ‘Greek tragedy’ is pulled kicking and screaming into our world, the terrible deeds of this mother – renamed here Anna – made harrowingly believable in this striking new context.
This he achieves through a series of bold decisions. Gone is the Greek chorus and in its place Stone gives voices to Anna’s two children Gijs and Edgar and also to Clara, the Glauce figure with whom Anna’s husband is having an affair. Thus the world of the play is concentrated on the implosion of this nuclear family who now each have their role to play in the psychodramatics that drive Anna to her terrible acts. And Bob Cousins’ design provides the perfect space in which to play them out. A wide expanse of timeless white space again pulling away from classical allusions as it allows for scenes to bleed into each other, take place simultaneously, or be filmed and projected live by the children who are making a family documentary for a school project.
“Ik was. Ik ben. Ik was. Ik ben.”
As soon as I booked my first theatre trip to Amsterdam I knew it would be a slippery slope and to be honest, there’s little resistance at all from me now (just my wallet) as I browse Toneelgroep Amsterdam’s website and figure out how many trips to the Netherlands it is reasonable to take in one year… This year, the UK has been blessed with a rare foray into English-language work by Ivo van Hove with a blistering take on A View from the Bridge at the Young Vic, so it seems only fit that my return to the Stadsschouwburg should introduce me to a new director, Guy Cassiers, who delivers Hamlet vs Hamlet in a stunning installation-like set design by Ief Spincemaille.
The show is a co-production between Toneelgroep Amsterdam and the Flemish Toneelhuis (whom Cassiers leads) and Tom Lanoye’s adaptation plays fantastically fast and loose with the play as we know it, toying with our presumptions about what is happening/will happen and introducing a fascinating note of intrigue into a play that is normally so familiar. Combined with the linguistic challenge (this performance, as are several others on Thursdays, was surtitled in English) I loved the level of bamboozlement that came from these changes, the way in which it completely confounded expectations feeling more adventurous than anything we’d ever see at the National. Continue reading “Review: Hamlet vs Hamlet, Amsterdam Stadsschouwburg”