“He hath always but slightly, known himself”
As I wrote when the full cast was first announced, “the world is hardly crying for more productions of King Lear but if you’re going to put it on, you might as well go balls out on some amazing casting”. And now that the time has come to trek over to Chichester Festival Theatre to catch Ian McKellen revisiting a role he has already been most renowned for playing, you’re left in awe once again at the luxuries casting director Anne McNulty has brought to bear in Jonathan Munby’s modern-dress and modern-spirited production.
Chief among them is Sinéad Cusack’s Kent. It’s a casting decision that deserves the emphasis for Chichester has long been a venue where female representation has struggled across the board and though it is still early days yet for Daniel Evans’ tenure here, any steps are welcome. Tamara Lawrance as Cordelia is another example and a powerful contrast too. Where Cusack brings all her experience to bear as a superbly nuanced Kent (whose disguising gains real resonance), Lawrance brings a freshness of spirit to her most compassionate reading of Lear’s youngest daughter.
Continue reading “Review: King Lear, Minerva”
“Reason not the need”
The world is hardly crying for more productions of King Lear but if you’re going to put it on, you might as well go balls out on some amazing casting (all credit to casting director Anne McNulty here). Jonathan Munby’s production had already announced Ian McKellen as part of the ensemble (teasing an interesting casting breakdown that didn’t actually come to anything) but that’s a small niggle in what is otherwise some excellent news.
- Sinéad Cusack as Kent
- Dervla Kirwan, Kirsty Bushell and Tamara Lawrance as Goneril, Regan and Cordelia
- Jonathan Bailey and Damien Molony as Edgar and Edmund
- Sinéad Cusack as Kent
- Michael Matus (Oswald), Dominic Mafham (Albany) and Patrick Robinson (Cornwall) in there as well
- Danny Webb as Gloucester
- Did I mention Sinéad Cusack as Kent?
- I can take or leave Phil Daniels as the Fool but he may well surprise.
Tickets are all sold out so you might want to monitor regularly for returns or hope for the transfer which one suspects is already in the making.
“Come, put off this dull humour with your clothes, and assume one as gay and as fantastic as the dress my cousin Valeria and I have provided, and let’s ramble”
I’ve not been heading up to the RSC with that much regularity recently, but I’ll go anywhere for Alexandra Gilbreath and given that The Rover had the added bonus of Joseph Millson, the trip was a no-brainer. It also helped that it was written and directed by women, not that frequent an occurrence in Stratford. And written not just by any woman, Aphra Behn was one of the first professional female playwrights and this play dates from 1677.
And directed by Loveday Ingram, it is a sprightly bit of fun indeed. Set in the heady mist of carnival time, all bets are off as the normal rules of society are suspended. Three sisters disguise themselves to escape the strict futures ahead of them, and a group of Englishmen arrive in port ready and willing to create the lads on tour archetype. Chief among the sisters is Hellena, due to enter a nunnery so more than happy to make the acquaintance of the rakish and randy Willmore. Continue reading “Review: The Rover, Swan”
“Will you just shut up about your blimmin’ horse”
Those of you that know me, or have read a few reviews on here, will know that I have something of an aversion to puppets, specifically puppetry that tries to be realistic in its portrayal – Avenue Q’s fluffy monsters are fine in that respect – but something about the mimicry of ‘real life’ has never been something I have enjoyed watching and indeed freaks me out a little bit. Throw into the mix horses, an animal of which I am not keen, and it is perhaps unsurprising that I have never been to see War Horse. Nor had I ever intended to, but I made the mistake of saying that the only way I would go was if someone bought me a ticket for my birthday…and lo, guess what happened…
Adapted by Nick Stafford from Michael Morpurgo’s children’s book, War Horse has been one of the biggest theatrical success stories of recent years: originally playing at the National Theatre in 2007, then returning for a revival the next year and then transferring into the West End in March 2009 where it has become one of the best selling shows in town, a genuine fixture at the tucked-away New London Theatre where its success shows no signs of abating, especially in the reflected glow of its award-winning sister production on Broadway. Quite why this is, I have to say still eludes me having seen the show, I couldn’t tell you what the magic ingredient is in here that has led to its enduring achievements aside from offering one of the most overly sentimental theatrical experiences possible. Continue reading “Review: War Horse, New London Theatre”