“Oh thou well skilled in curses, stay awhile
And teach me how to curse mine enemies”
So after a nice break away from London, and seven whole days without a play, 2010’s theatregoing resumed with a trip to Richard III at the Riverside Studios in Hammersmith. Part of a season of plays entitled Desire and Destruction presented by the Love and Madness company, an ensemble of 10 actors are covering 3 plays around these ever-resonant themes, of which Richard III is the second to start (Fool For Love opened last week).
One of Shakespeare’s most celebrated works, Richard III is the story of the physically deformed Duke of Gloucester, a fiercely ambitious prince of the House of York whose hunger for the throne leads him down a Machiavellian path of endless murder, betrayals and general naughtiness as nothing will stop him from gaining what he so desires, even though it lays so far from him. Shakespeare played fast and loose with history in writing this play and so it lends itself to interpretation quite nicely (this production is presented in modern dress), being much more a study in uncontrolled ambition and the power of ‘spin’ in order to manipulate situations both publicly and privately to one’s own good. Continue reading “Review: Richard III, Riverside Studios”
“I don’t want to believe that we come from monkeys and apes, but I guess that’s kinda besides the point”
Inherit The Wind is a courtroom drama, based on the true life story of a Tennessee schoolteacher who was threatened with imprisonment for teaching Charles Darwin’s ideas on evolution, in direct contravention of school policy. A highly strung court case then follows, pitching creationists against evolutionists, and bringing two legal titans to a small town in Tennessee to argue the case, the ramifications of which clearly extend beyond that classroom in the Deep South. Its timing seems uncanny: even on the 150th anniversary of the publication of On The Origin of Species, a highly recommended (by me at least) film Creation, about Darwin’s struggles with his own faith as he wrote it, has not been able to find a distributor in the US because it is considered too ‘controversial’ in a country where allegedly barely a third of the population actually believe in evolution.
The scale of this production really is admirably epic: the staging is superb, with the Old Vic’s stage being opened up to a great depth (you could probably fit the stage for Annie Get Your Gun on there 15 times over!), the already healthy cast is ably bolstered by a phalanx of supernumaries, bringing the total company to 50 bodies who bring an authentic air of claustrophobic small-town living to several scenes, most notably the prayer meeting just before the trial. The use of hymns sung by the company during scene changes further reinforces this strong sense of a community joined by the power of their faith. Continue reading “Review: Inherit The Wind, Old Vic”