“Dat’s de stuff! Let her have it! All togedder now! Sling it into her! Let her ride! Shoot de piece now! Call de toin on her! Drive her into it! Feel her move! Watch her smoke!”
I loved Eugene O’Neill’s Anna Christie at the Donmar last year and thought his Long Day’s Journey Into Night was truly exceptional when I caught it earlier this year, so the prospect of one of his lesser known works – The Hairy Ape – at the ever-inventive Southwark Playhouse was one that intrigued and so I let myself be talked into catching it just before it closed. It is definitely closer to the former of the above-mentioned plays in its primal expressionism, tales of the sea and the search for belonging.
In the engine room of a transatlantic liner, Yank is the king of his world, leading his team of workers as they shovel away. His certainties are stripped away when a young upper class lady makes her way below-deck, leaving shocked and horrified at what she sees but opening Yank’s eyes to life beyond what he knows. His reaction is to try to find out what disgusts her but he soon discovers that she represents a whole world that doesn’t or won’t accept him. Continue reading “Review: The Hairy Ape, Southwark Playhouse”
“Vengeance is mine. Ay, heaven will revenged of every ill”
The Spanish Tragedy was written by Thomas Kyd in the 16th century and is regarded as one of the first ever examples of the revenge tragedy. Kyd’s play proved to be highly influential on other Elizabethan writers such as Marlowe, Jonson and indeed Shakespeare, Hamlet in particular takes much inspiration from several key elements of this play. It is presented here at the Arcola Theatre in Hackney, one of the most interesting fringe venues in London, with a great cafe and bar for pre/post-show interactions.
In the aftermath of a bloody war, the royal leaders of war-torn Spain and Portugal plan a marriage between their families in the hope of forging peace. But the bride already has a secret lover. When he is murdered to make way for the new groom, his father Hieronimo is forced down a brutal path of vengeance from which there is no return. Watched throughout by the ghost of a soldier and Revenge, personified here by a chillingly played, creepy little girl, there seems no doubt about the inexorable path of vengeance that Hieronimo takes, the implication being that their supernatural influence is guiding the grieving father. Yet the heart of the play is more about the human reaction to being wronged, and the pervasive need for retribution, no matter the consequences. Continue reading “Review: The Spanish Tragedy, Arcola”