“They see you as a hussy who planned to get your claws into the King from the moment you came to Court”
Another revisit to a play in a month that has seen a fair few and once again, it was to a play I hadn’t intended to see for a second time. This time it was Howard Brenton’s Anne Boleyn which premiered at the Globe last summer and which seriously impressed as a piece of new writing which managed to bring a potentially very dry historical subject to vibrant life, both enlightening and amusing audiences in equal measure and earning its star, the luminous Miranda Raison, a Best Actress fosterIAN nomination. When it was first announced that it was returning as part of the 2011 Globe Season, the lacking of accompanying casting news led me (and others) to suspect that she would not be returning with the production and so I was quite happy not to bother seeing it again. Sod’s law dictated that Raison did indeed return though and so my resistance was quickly work down and a visit made to the penultimate performance of the run.
My review from last year can be read here and little has changed in that I really did love it just as much second time round. I’d forgotten just how witty it was from start to finish and just how well-written the whole thing is, but particularly the role of Anne. It really is a superb part, shedding a brand new light on a historical figure of whom so much has already been said, but Brenton makes a convincing case for her as a truly unique figure, dazzling with intelligence but also possessed of reckless abandon in the pursuit of her goals. And Miranda Raison breathes such delightful life into her portrayal, brimming with self-confidence and a self-assurance that allows her to dominate Henry VIII for years whilst his divorce with ‘the Aragon cow’ is sorted out yet makes her entirely likeable. Continue reading “Re-review: Anne Boleyn, Shakespeare’s Globe”
“Gentle my lord, sleek o’er your rugged looks; be bright and jovial among your guests to-night “
Opening the 2010 Kings and Rogues season at Shakespeare’s Globe on the South Bank is Lucy Bailey’s production of Macbeth. Fans of the Scottish play are being well-served this year: Cheek By Jowl may now have left the Barbican but you can catch them again in Brighton in May, the Open Air Theatre will be running a re-imagined for kids version in July or you can witness this decidedly less family-friendly production in the Globe.
Katrina Lindsay’s design has clearly taken the circular shape of the theatre into consideration and used the circles of hell in Dante’s Inferno as the main inspiration. The Yard is mostly covered with a canopy, with holes for the groundlings to poke their heads through, representing the frozen sinners trapped in the underworld, and it is also populated with the occasional bloodsoaked writhing tortured soul popping up. I can’t comment on how comfortable or otherwise it was, but there’s plenty of room outside of the canopy if you’re not too sure about it: it did look fun though. The weird sisters therefore are the guardians of this final Hell and flow in and out of there onto the stage, trying to drag as many people down with them. Continue reading “Review: Macbeth, Shakespeare’s Globe”
This review marks a momentous occasion as it features the first appearance of Aunty Jean, one of my most faithful theatre companions, despite living nearly 200 miles from me in Wigan. We try to see at least one thing every time she visits whether for pleasure or work, but it has been a while since she has been down so Oliver marked her first 2009 London theatrical trip.
Fortunately it was well worth it, as this show did not disappoint on any level (and many levels it did have!). The sets for this show were truly awe-inspiring: Fagin’s underground lair was cleverly constructed; the depth of the alleyway for the street scenes was huge so it gave a great sense of scale to the proceedings, one which has been sadly lacking in many large recent productions, cost-cutting I guess, and the lighting from scene to scene could not have been more different, yet still highly effective. This all combined to give great energy and movement to the show, which scarcely needs it due to the highly familiar and zippy score. Continue reading “Review: Oliver!, Theatre Royal Drury Lane”