Review: About Leo, Jermyn Street

Excellent creative work makes About Leo, the debut play from Alice Allemano a real success at the Jermyn Street Theatre

“I have never, in my life, for one moment, been anyone’s muse. I was too busy rebelling against my family and learning to be an artist”

What does a woman have to do to be appreciated on her own merits? Be a leading surrealist painter? Be a founding member of the women’s movement in the country where she lives? Write several successful books?  Leonora Carrington may not be the best known of names but she deserves more than being known someone who had an affair with Max Ernst.

Such is the set-up for Alice Allemano’s impressive debut play About Leo. Wannabe journalist Eliza Prentice rocks up at Carrington’s Mexico City residence in order to secure an interview for a retrospective of Ernst’s work but is soon disabused of the notion that she was a mere ‘muse’. And over a long night, as tea turns into tequila, stories of love and loss and art and aspiration reveal a hugely fascinating figure.  Continue reading “Review: About Leo, Jermyn Street”

Review: The Tenant of Wildfell Hall, Octagon

“I often cry when I am happy, and smile when I am sad”

Anne Brontë might not be the most heralded of her sisters but that is to underestimate the different way in which she expressed herself. The striking feminism of The Tenant of Wildfell Hall remains as powerful as ever and in Deborah McAndrew’s adaptation, directed by Elizabeth Newman for the Octagon Theatre in Bolton of which she is the artistic director, it couldn’t find a better place to reassert those feminist credentials.

Even in these allegedly more enlightened times, the idea that a woman might stay in an abusive relationship is one that many people struggle with. And so as the story of Helen Graham unfolds, as the events of her past inform what happens in her present, McAndrew’s contemporary dialogue keeps a real modern urgency to the action. Alcoholism and abuse in marriage, gender equality and duty, the struggle for independence – this is timeless stuff. Continue reading “Review: The Tenant of Wildfell Hall, Octagon”

The Complete Walk, from the comfort of your sofa #4

“Come now, what masques”

With 37 films to work through and no need to do them all in one weekend as the Complete Walk was originally designed, I’m rather enjoying working my merry way through them at my own pace. First, second and third sets of film can be found here. 

Given how many Dreams I’ve seen this year, it’s a little surprising that A Midsummer Night’s Dream can still surprise me but such is the enduring beauty of the play. Nikki Amuka-Bird and David Caves take on Hippolyta and Theseus in the stately surrounding of Wilton House in the English countryside in Wiltshire, done with a romance here by Rebecca Gatward that is rarely seen these days. The flip to the brilliantly feisty pairing of John Light and Michelle Terry’s Oberon and Titania (from the 2013 Globe version which ranks as myall-time favourite) is vibrant, but it’s gorgeous to go back to the further developing of an unexpected tenderness between two characters who rarely receive it. A snippet of Pearce Quigley‘s Bottom is a bonus but it is Caves and Amuka-Bird who are the bees knees here.

Going to the ruins of Juliet’s Tomb itself (‘twas a room in a monastery) in Verona, and constantly switching with a second location (perhaps said room in a modern setting), Dromgoole’s Romeo and Juliet becomes extraordinarily powerful. Jessie Buckley’s final speech is just heartbreaking, really quite hauntingly affecting. Luke Thompson’s Romeo doesn’t quite hit the same heights but it’s still a beautiful encapsulation of the play.

Re-uniting father and daughter Jonathan and Phoebe Pryce from Jonathan Munby’s achingly moving production at the Globe in 2015, this rendering of The Merchant of Venice has the special opportunity of carrying its main actor from the staged to the filmed version, also by Munby. The swaggering demands of Dominic Mafham’s Antonio give way to the quiet confrontation between Shylock and a soon-to-depart Jessica, given real piquancy by being filmed in The Jewish Ghetto in Venice. Munby then goes for the greatest hits of the play, fitting in the ‘Hath not a Jew eyes’ and then Portia’s ‘quality of mercy’, but it is the subtle interplay between father and daughter in the Venetian half-light that sticks in the mind.

Review: The Merchant of Venice, Shakespeare’s Globe

“I will not hear thee speak; I’ll have my bond”

Following the exceptional Rupert Goold/RSC adaptation which played the Almeida over Christmas, it seemed a brave decision for the Globe to also lead their 2015 season with The Merchant of Venice but Jonathan Munby’s production proves to be just as revelatory, albeit in a completely different way. With Jonathan Pryce making his debut here at this venue, accompanied by his daughter Phoebe no less, it is no surprise that his beautifully realised Shylock is at the heart of the show here but it is also good to see Jessica (played by Pryce junior, natch) also take her turn in the spotlight.

In some ways, this echoes the Al Pacino version, showing us how Jessica is cruelly caught in the middle – torn between duty to her father and her Jewish faith, and the delight that a genuine love match with Ben Lamb’s Christian Lorenzo brings to her life. This conflict is fiercely felt – she argues ferociously in Yiddish with her father but there’s no doubting the haunting anguish of the production’s end, her Hebrew lament powerfully affecting as Shylock faces yet another disgrace as we’re reminded that – even if she has shunned him – it is still a familial bond being sundered here. Continue reading “Review: The Merchant of Venice, Shakespeare’s Globe”