Re-review: Great Britain, Theatre Royal Haymarket

“They weren’t lies, they were well researched stories that later turned out not to be true”

Just a quickie for this unexpected revisit to Great Britain. I hadn’t intended to go back to this Richard Bean play, which made a rapid transfer from the National Theatre to the Theatre Royal Haymarket after its up-to-the-minute emergence on the schedule after the culmination of a certain trial involving a certain Eastender-star-bashing redhead. But the offer of a good ticket and the chance to see Lucy Punch – of whom I’ve heard much but never seen on stage – tempted me once again into this murky world of tabloid junkies.

My original review can be read here and if anything, I think I might have been a little kind to it. The play hasn’t aged well, even in the six months since it opened as the fast-moving world of political, institutional and journalistic scandal moves on so quickly IRL that this fictional version already seems quaint. Add in that its bite has been evidently neutered by legal threats and its intelligence barely scrapes the surface of the ethical issues at hand, and it’s a bit of a damn squib for me. Punch was good though.

Review: A Midsummer Night’s Dream, Rockwell House

“The summer still doth tend upon my state”

The Malachites have more usually been found at St Leonard’s Church in their quest to “reconnect Shakespeare with Shoreditch in the public consciousness” but this production of A Midsummer Night’s Dream sees them skip down the road to the tented rooftop of a venue which sits on the site where the Curtain Theatre once stood more than 400 years ago. And more significantly, it sees this young company taking a much more inventive approach to the Bard’s work – there can’t have been too many other female Bottoms, gender-swapped Oberons and Titanias or such explicit references to a 1909 silent film version of the play.

Benjamin Blyth’s production is cleverly done indeed. Projected snippets of that film play out above us – one brilliant scene sees the Rude Mechanicals mime along silently as their roles are given out by Peter Quince – and there’s something rather magical about seeing, even if only briefly, an interpretation of this same story that is over a century old. Blyth is also unafraid to contrast this with the new and novel though – having the Fairy King and Queen swap bodies in some magical mishap is further exploited when we meet our female Bottom, the tangled sexual dynamics of these mischievous spirits cast in a fresh light. Continue reading “Review: A Midsummer Night’s Dream, Rockwell House”

Review: Great Britain, National Theatre

 “That’s what we do, we destroy lives…but it’s on your behalf, because you like to read about it”

It’s not quite Beyoncé releasing her latest album without prior notice but it’s not far off. Richard Bean’s new play for the National was something of an open secret even if its specifics were unknown but still, announcing it with five days’ notice and no previews is a pretty bold move. What Great Britain has going for it though is a right-up-to-the-minute immediacy as Bean responds with speed to the scandals that have engulfed certain sections of the tabloid media in recent times and a court case that may or may not have just reached a verdict…

We’re in a satirical, pseudo-recognisable world – a ratings-hungry red-top (called The Free Press) is owned by a foreign-born media mogul who wants to buy a television station (an Irishman called Paschal O’Leary if you will) and has a fiercely ambitious news editor at its helm (a blonde woman called Paige Britain, she didn’t say she was “vindicated” so I have no idea who she was meant to be…). Manipulating their way to a position of huge influence with both Police and Parliament under their thumb, it seems nothing could go wrong. That is, until a little thing called phone hacking breaks into the national consciousness. Continue reading “Review: Great Britain, National Theatre”