“Though I look old…I am strong and lusty”
From the minute Michelle Terry’s Rosalind launches into an actual tizzy at the sight of Orlando’s ripped body (an inordinately but irresistibly muscular Simon Harrison), the warmly joyous spirit of Blanche McIntyre’s As You Like It is never in doubt. The contrasting textures of Shakespeare’s elegant yet complex comedy are well balanced, its musical elements pushed to the forefront with a folkish score from Johnny Flynn but above all, there’s a sense of intelligent fun that delights in taking its time to reveal itself.
Terry has been establishing herself as one of our leading Shakespeareans and this energetic and impulsive take on Rosalind is an absolute privilege to watch. Constantly on the edge of her emotions, she skips from the giddy heights of love at first sight to the crushing pain of banishment in the blink of an eye. And as she explores the nature of love and the heart, her heart in particular, her deftly comedic manner whilst disguised as Ganymede is just glorious, her continual delight at what she is discovering a constant joy. Continue reading “Review: As You Like It, Shakespeare’s Globe”
“For she is changed, as she had never been”
Despite featuring Samantha Spiro as Kate, the Globe’s production of The Taming of the Shrew held little attraction for me when it was announced, and even once it had started. Though, not considered a ‘problem play’ as far as Shakespeare’s canon is concerned, problems tend to arise when productions seek to make sense of its knotty gender politics from a contemporary perspective. Southwark Playhouse and the RSC have recently tried different updated versions but neither one really convinced me. After allowing myself to be persuaded to see it before it finished its run, Toby Frow comes the closest I have seen to making the play work, mainly by – against the above quote – simply leaving it alone.
That’s not to say that there isn’t an immense amount of work that has been done, but rather that this production just takes the play for what it is – a piece of sixteenth century fiction presented as such. And instead of the furrowed brow that often comes with trying to work how misogynistic or otherwise the play or the production is being, there’s a sense of joyous fun as high-octane slapstick, capering about and unbelievably destructive capabilities are the order of the day. Continue reading “Review: The Taming of the Shrew, Shakespeare’s Globe”
“Perhaps this is what everyone else does, perhaps this is what adults do. I can just act happy.”
The Michael Frayn Space downstairs at the Hampstead Theatre has become something of a hot venue. A space for more experimental fare than one might be accustomed to in Swiss Cottage, it has not been a place where press critics have been invited to, instead encouraging audience feedback as plays are developed there. But in a change of policy, the doors to Pentabus Theatre’s For Once were opened and deservedly so, as it is a beautifully written, powerfully affecting play.
It is playwright Tim Price’s debut work, though he is one to watch with an upcoming play forming part of this year’s Donmar at Trafalgar Studios season and another commission for National Theatre Wales appearing next year. And with this three-hander about a family recovering from the aftermath of a terrible car accident that has sent shockwaves through the isolated rural community in which they live, he demonstrates a real skill for sensitive storytelling, resonating with a genuine understanding of the emotional interplay of people struggling to return to everyday life. Continue reading “Review: For Once, Hampstead Downstairs”