“O god that men should put an enemy in their mouths to steal away their brains”
Playing in rep with Twelfth Night at Highgate’s Upstairs at the Gatehouse theatre, Arrows and Traps’ Othello sees them take a slightly different approach to the tragedy, one which is closer to the way in which they reimagined Macbeth earlier this year. Modernised and musicalised, Will Pinchin’s movement plays a key role in the elegant tenor of Ross McGregor’s visually stimulating production.
Much less of an ensemble show than Twelfth Night, Othello offers an interesting contrast in featuring leading performances, even if they are somewhat uneven. Spencer Lee Osborne’s Othello is fascinatingly insecure which offers a route into his emotional journey, if not quite convincing that he could ever become a general. And Pippa Caddick’s Desdemona responds well to this intensity, playing up her innocence but never cloyingly so. Continue reading “Review: Othello, Upstairs at the Gatehouse”
“If music be the food of love then play on”
It may be music that feeds love according to Shakespeare but it is lust that drives Arrow and Traps’ interesting production of Twelfth Night, playing in rep with Othello at the Upstairs at the Gatehouse Theatre in Highgate. Sebastian and Antonio have been shagging for three months, Feste is pining for Maria, Olivia’s loins are thrustingly on fire for Cesario, Orsino and Cesario all but do it on the bed and on the floor – what country friends is this? Well it’s a most libidinous Illyria.
Ross McGregor’s production thus puts sex firmly on the table, a bold move and one which pays off in the first half, upping the stakes in familiar relationships and teasing insights into lesser explored ones. So whilst it is no surprise that Olivia and Orsino want to get laid, it’s good to see it acknowledged so explicitly for once. But it’s also intriguing to see the depth of Malvolio’s feelings for Olivia as shown here and to consider the dynamics of a homosexual relationship between Sebastian and Antonio. Continue reading “Review: Twelfth Night, Upstairs at the Gatehouse”
“What happens if you can’t stop?”
Helen Edmundson’s adaptation of Anna Karenina really is a clever thing. Taking the huge scale of Tolstoy’s Russian epic novel and translating it into something genuinely theatrical, and new, is no mean feat. Last seen in London at the Arcola (where I think I underestimated it a tad), Arrow & Traps Theatre Company have brought it to the intimacy of Brockley Jack’s black box studio and it’s an impressively mounted production.
Edmundson’s major innovation is to reframe the story as an existential conversation between its two main characters Anna and Levin, whose lives are inextricably interlinked through their family connections (she’s his sister-in-law’s sister-in-law, I think) but actually only ever intersect once. Thus they relate tales of their experiences while debating faith and freedom, responsibility and love, what it means to really live. Continue reading “Review: Anna Karenina, Brockley Jack”