I mean, just look at this absolute treasure trove of theatrical talent!
I’m off to listen to Patsy Ferran read Tom Wells, and Gabby Wong read Alexi Kaye Campbell, and Sarah Niles read Winsome Pinnock and…and…
“Let me feel how thy pulses beat”
Joe Hill-Gibbins’ raucous production of The Changeling first played the intimate Maria studio at the Young Vic earlier this year and encouraged by its success there, it has now transferred into the main theatre to provide a Gothic pre-Christmas treat. Middleton and Rowley’s Jacobean tragedy which spirals around spoilt rich girl Beatrice-Joanna’s schemes with her malevolent lackey De Flores has been mostly recast, just two people return, but its intense atmosphere, playful spirit and copious quantities of jelly, jam and trifle remain.
Sinéad Matthews takes on the role of wilful Beatrice-Joanna, determined to replace the man to which she finds herself engaged with the ones she has the hots for, and willing to do anything to get Zubin Varla’s disfigured De Flores to carry out her dastardly wishes. It’s a fascinating casting choice, the melancholy musicality of Matthews’ voice initially seems a difficult fit but the contrast of her doll-like frame against the wiry masculinity of Varla becomes highly effective as she attempts to manipulate all around her, forced to use her intelligence and wiles to ensure that Harry Hadden-Paton’s appealing Alsemero ends up with her. Continue reading “Re-review: The Changeling , Young Vic”
“Plagues! Confusions! Darkness! Devils!”
Technical difficulties around health and safety meant that Suba Das’ production of The Revenger’s Tragedy had to be rapidly reconceived from its intended promenade aspect but little can excuse shining a bright light into the eyes of part of the audience for 15 minutes. Thomas Middleton’s Jacobean blood-fest now sits still in the Victorian music hall surroundings of Hoxton Hall, but seriously lacks the basic thread of storytelling that such a complex play requires.
Vindice is determined to wreak a terrible revenge on the duke who poisoned his beloved fiancée and doesn’t care who get sucked into his machinations, whether it is the corrupt extended family of the duke, or his own (slightly) more innocent relations. This is a barely comprehensible world of deep selfishness, punctuated with episodes of extreme violence and illicit lust, and so needs a strong directorial hand to try and impose if not sense, then at least an interpretation of great clarity and focused intent. Continue reading “Review: The Revenger’s Tragedy, Hoxton Hall”
“Resolve me this question”
And the question is do designers ever actually sit in the seats that surround the sets that they create. I ask because Ultz’s design for The Changeling, currently playing in the Young Vic’s Maria studio, stretches the seating round all four sides as well as into a set of nooks and crannies and wheelchairs downstairs. This is fine on two sides with the usual red seating but with the others, a single row of seats has been placed behind a heavy thick rampart meaning that visibility of a third of the stage is compromised and only partly rectified by leaning forward.
Combined with the dreaded unreserved seating and the sheer arrogance of the audience members who refused to budge up like everyone else did in order to maintain ‘their’ spot and forcing some extraordinary contortions in order to allow many people to pass them, I couldn’t help but feel this was a configuration that had its audience too far back in its mind than is truly acceptable. Continue reading “Review: The Changeling, Young Vic”
“Thou art all deformed”
The programme for the Southwark Playhouse’s latest main house production, The Changeling by Thomas Middleton and William Rowley, starts off with an honest explanation of the difficulties in staging such a dialogue-heavy work so full of asides and freely admits it is taking a risk in the approach they have adopted, which is to use voiceovers. Such candour is perhaps bravely admirable but in this case, it is a risk that does not pay off as The Production Works’ reimagining of the classic sadly falls short in a number of areas.
Beatrice-Joanna is engaged to Alonzo, hotly in love with Alsemero and stalked by her disfigured servant De Flores and such is the strength of her burning desire and the desire she provokes in others that in order to pursue the second she engages the third to get rid of the first. This production focuses on this twisted love triangle and completely does away with the comic subplot, thus bringing in the show at an interval-less 90 minutes but making the tone of the play unremittingly dark. Continue reading “Review: The Changeling, Southwark Playhouse”
Women Beware Women is a cautionary tale of the consequences of the pursuit of wealth, power and lust in the 16th Century Florentine court written by Thomas Middleton. It takes up residence at the National Theatre, in the Olivier, as part of its Travelex season, so lots of £10 tickets should become available when the new season opens for booking to the general public on 30th April.
The plot goes a little something like this: Bianca, the daughter of a wealthy Venetian family, elopes to Florence with a poor merchant’s clerk Leantio. While he’s away on business the Duke of Florence sees Bianca and is determined to seduce her. Bianca leaves her husband when the Duke offers her a life of luxury. In a separate plot line, Isabella is faced with going into a loveless marriage with a rich yet stupid ward. She’s appalled when her uncle Hippolito confesses his love for her. But her aunt Livia, Hippolito’s sister, cunningly persuades Isabella that she isn’t related by blood, so she’s tricked into an incestuous relationship with her uncle. That’s clear, right? Continue reading “Review: Women Beware Women, National Theatre”
The Revenger’s Tragedy is a Jacobean revenge play of dubious authorship but these day, attributed to Thomas Middleton. It is set in a decadent Italian court full of moral decay but in Melly Still’s new production here at the Olivier auditorium in the National Theatre, it has taken on a whole new lease of life.
The story is full of backstabbing intrigue and intricate plotting which required a lot of attention. Vindice is our hero of sorts, but he is determined to be revenged on the Duke, as whilst he’s seemingly a fine upstanding type, actually raped and pillaged the fiancée of Vindice a few years back. His home life is a little eventful too, his Duchess is a narcissistic, sexually voracious, hedonist who is lusting after her husband’s bastard son; and their other sons are a motley crew of bad’uns. One of them, the handsome Lussurioso, has decided to buy a lovely young woman from her mother, but she turns out to be the sister of Vindice. Thus, the scene is set for a strange mix of tragedy and comedy as we hurtle to the oh so very bloody climax. Continue reading “Review: The Revenger’s Tragedy, National Theatre”