“This man Molière, is he dangerous?
‘He is Satan himself'”
I hadn’t originally intended to see Molière or The League of Hypocrites at the Finborough Theatre due to a packed festive schedule but reconsidered after a gap opened up this afternoon and a couple of realisations occurred to me: having never seen a Molière play before I figured I may as well see one about him before going to see The Misanthrope next week, and also Mikhail Bulgakov wrote The White Guard which arrives at the National Theatre in February, so I thought what the heck and swung on down to SW10.
Explicitly about the French playwright Molière, a huge success in the court of Louis XIV until his plays started to make an enemy of the Church, which devotes its considerable energies to discrediting him by any means possible and ruining him. The play then follows Molière as he struggles to maintain “his integrity under a repressive regime”, a point made all the more poignant by the fact that Bulgakov was writing in Stalin’s Russia, suffering much the same treatment and risking it all by writing such plays. Continue reading “Review: Molière or The League of Hypocrites, Finborough”
So my second trip to the Globe took me to Edward II, a play by Christopher Marlowe which was another all-male production and actually carried over almost the entire cast from Richard II which was a nice touch I hadn’t realised until I got there. I like the idea of a company doing more than one play as it means that the bonds within the group have time to really develop and become something more special than if just for a short run.
Covering most of the key events of Edward II’s reign, the play hooks around the relationship between the King and his favourite, Piers Gaveston who was showered with love, gifts, lands and titles by his royal lover. Though interestingly, the shock value from the play would originally have come from the social/class barriers that were breached rather than the sexual ones, as the barons and lords of the court would have been outraged at the fact that Gaveston was of lowly birth rather than the fact that he was a man. For at the heart of this play is a debate about politics and the lengths to which the establishment will protect what they see as theirs by right.
The relationship between Edward and Gaveston is perfectly played and completely unafraid of being physical. Gerard Kyd as the favourite brings a fabulous energy and a freedom to his movement and behaviour which instantly sets him apart from the rest of the staid court. And with Liam Brennan’s touching King matching him for passion, their’s was a moving, believable relationship. The rather refreshing liberal take on homosexuality both in the play and this production was negated somewhat by the giggling tourist-heavy audience of the Globe though.
But there is much else to the play, with the viciousness that spurned wife and Queen Isabella pursues the downfall of her errant husband’s lover and then the King himself as she takes her own lover, the fiercely ambitious baron Mortimer. Justin Shelvin was convincing as the tyrannical baron, but I wasn’t too sure about Chu Omambala as the Queen, not really hitting the emotional depths of either despair or vengeance, literally being outshone in every sense by Gerard Kyd’s Gaveston. The all-male casting actually didn’t make that much of a difference in the end, which I suppose is the point, it felt natural and worked with the material.
I loved being a groundling again, even with a show that was over three hours, as it was very musical with lots of drums, tribal dancing to represent battles and being up close to the actors makes me feel a little sorry for the people who are sat down on the hard wooden benches!