“You are the chief executive officer of the human race”
It was quite interesting to rewatch Series 8 of Doctor Who, one which I hadn’t revisited at all since it originally aired, as my memories thereof were not at all positive. And whilst disappointments remained – Robin Hood, 2D cartoons, the treeees! – there was also much to enjoy that I’d forgotten about. The smash-and-grab of Time Heist, the simplicity of ghost story Listen, and the ominous darkness of the finale.
I’m still in two minds about Peter Capaldi’s Twelve though, I want to like him so much more than I do, and I think you do get the sense of him feeling his way into his irascible take on the role. Jenna Coleman’s Clara benefits from being released from the yoke of impossibility to move to the forefront of several episodes and if she’s still a little hard to warm to, that finale really is superbly done. And then there’s Michelle Gomez, stealing the whole damn thing magnificently! Continue reading “Countdown to new Who: Doctor Who Series 8”
“Let not light see my black and deep desires”
Carrie Cracknell and Lucy Guerin employed their dance-focused aesthetic on their production of Medea for the National Theatre last year and have now returned to it for this Young Vic, Birmingham Repertory Theatre and HOME co-production of Macbeth. It’s a unique approach which has moments of real visual acuity in Lizzie Clachan’s infinity tunnel staging but also pulls awkwardly at the play itself, dominating the verse to its detriment.
Which is a real shame, as a Macbeth with John Heffernan and Anna Maxwell Martin ought to have been a scorching thing, their interesting casting offering worlds of new possibilities for this old warhorse of a play. But Cracknell’s staging and Guerin’s choreography offers little room for them to explore their characters in a deeply satisfying way. Instead, a lack of palpable chemistry haunts their scenes whilst the dancing mainly distracts. Continue reading “Review: Macbeth, Young Vic”
“What, man! ’tis a night of revels”
At the hint of something daring and innovative in a production of one of Shakespeare’s plays, it is all too easy to fall back on the truism that it probably isn’t for purists – heaven knows I was guilty of it just last week. But whereas not all adaptations necessarily work that well, Frantic Assembly’s brutal and breathless reimagining of Othello – arriving at the Lyric Hammersmith after a UK tour – is exactly the type of thing that purists should be made to see as a thrilling example of how powerful and effective an interpretation can be.
And that is what this Othello is in the end. To start counting the characters who’ve been excised, noting which speeches are spoken by someone else or which plot details have been omitted is to utterly miss the point. Adaptors Scott Graham and Steven Hoggett have brilliantly managed to take the play apart, capture its essence but then reconstruct it into something familiar but new. Full-length traditional productions (of variable quality) are two-a-penny but oh so rarely is Shakespeare this pulsating and compelling and visceral and modern. Continue reading “Review: Othello, Lyric Hammersmith”
“Men may construe things after their fashion clean from the purpose of the things themselves”
I hadn’t originally intended to take in Gregory Doran’s all-black version of Julius Caesar for the RSC, not for any particular reason than just that it didn’t really appeal. It seemed that my instincts had paid off when it was announced that, with a rather odd sense of timing, the production would be filmed in Stratford-upon-Avon and shown on television before it made its transfer to London’s Noël Coward Theatre and then on to a UK tour. But upon watching this televised version which mixed location shooting with action filmed on-stage, I was utterly seduced by Doran’s reinterpretation which sees the play relocated into some unspecified modern African dictatorship.
Most of what I said about the production in my review of the film still holds true so I won’t repeat myself too much. Having been spoiled by the intimacy that television cameras provided, it was a little difficult to readjust expectations in light of being seated in the rear stalls. Missing so much of the detailing, and indeed the clarity of much of the text in a couple of heavily-accented places, meant that I never felt quite as connected to the action as I had previously been, an interesting thing to discover given that the live experience is the one that is always trumpeted. Michael Vale’s crumbling set design did look impressive though, with its looming statue an ever-present reminder of the seeming inevitability of oppressive leadership.
Continue reading “Review: Julius Caesar, Noël Coward Theatre”
“Men, at some times, are masters of their fate”
In the near-overwhelming deluge of Shakespeare love on the BBC which is about to reach its crescendo with the debut of the Hollow Crown season, the decision to film and broadcast the RSC’s current production of Julius Caesar seems a rather perverse one. The show, an all-black adaptation relocated to an unspecified modern African state by director Gregory Doran, has yet to complete its Stratford-upon-Avon run and will embark on a major UK tour including a residency in the West End’s Noël Coward Theatre, so it seems a little counter-intuitive to present it on our televisions – I only hope this does not impact on ticket sales (though given it played on BBC4, one does wonder what viewing figures were actually like…).
Of course, watching a play on screen is not the same as watching it live and though this starts with the opening scene recorded at the Royal Shakespeare Theatre, the first transition cleverly moves us into location filming and so the production gains a filmic quality which makes use of varied locations, including a return to the RST, direct addresses to camera, ‘found’ cellphone footage and voiceovers to really translate the theatrical interpretation into something new for the screen, as opposed to simply replicating it. The relocation is a simple, yet powerfully effective one, the overthrowing of a military dictator by less than honourable types is something which will seemingly always have currency in the modern world, but more importantly the concept is worn lightly with little shoe-horning necessary to make it work. Instead it flows beautifully and naturally to great effect. Continue reading “TV Review: Julius Caesar, BBC4”