In something of a coup, Guildford Shakespeare Company’s leading man for their production of King Lear is none other than Brian Blessed. And with his daughter Rosalind playing Goneril too. The play’s opening this week was a little overshadowed by the actor’s collapse during the final preview performance, but with the redoubtable resilience we have come to expect from this totemic figure (and perhaps unfairly so, he is 78 after all), he continued with the show after a 20 minute break. So three days later, it was with a little trepidation that we took our seats in the Holy Trinity Church in Guildford (cushion recommended!).
But we needn’t have worried, Brian Blessed giving his King Lear was exactly how you’d imagine Brian Blessed giving his King Lear would be. For better and for worse. There’s a real thrill in seeing him throw himself so fully into the cantankerous cruelty and wild abandon that characterises Lear’s breakdown – every howl, headshake and handwring is vastly exaggerated and is so unmistakeably him. But this comes at the loss of much subtlety, if not wailing he’s whispering with inbetween, which ultimately becomes a little exhausting whilst remaining trashily enjoyable. I mean look at the poster, what you want is Brian Blessed doing exactly what Brian Blessed does. Continue reading “Review: King Lear, Holy Trinity Church, Guildford”
“Weak men must fall, for heaven still guards the right”
Trekking out to Bristol’s Tobacco Factory to see Richard II may seem like pushing it even for me, but there was good reason to make the journey as playing the title role was winner of the 2010 fosterIAN Best Actor in a Play, John Heffernan. The production is by Shakespeare at the Tobacco Factory, a semi-repertory company now in their 12th season yet this is their first stab at one of the Histories, with The Comedy of Errors following this production.
Forming the first part of Shakespeare’s second tetralogy, it follows the decline of the egotistical Richard II’s reign, charting the tragic fall of a man from divinely-appointed King to mere mortal, contrasted with the rise to power of Bullingbrooke, later Henry IV, who capitalises on Richard’s profligacy and impetuous nature to marshal the nobility into supporting his cause and overthrowing the anointed King for the good of the nation. It is very poetic being almost all in verse and stands alone as a play, a historical tragedy for the most part, although there’s elements of lightness and a rather incongruous comedy scene towards the end and the late introduction of some supporting players who don’t really come into their own until later plays. Continue reading “Review: Richard II, Tobacco Factory”
My intention is, honestly, to see less theatre this year and try and regain some semblance of a normal life again on the odd evening. But the curse of advance booking and grabbing cheap(er) tickets whilst you can has meant that there’s already an awful lot of theatre booked for 2011. Some have been booked without a huge deal of enthusiasm, but others have a dangerous amount of anticipation attached to them…and so I present to you, the shows I am most excited about seeing this year (so far).
Antonioni Project – Toneelgroep Amsterdam at the Barbican
The Roman Tragedies was hands down one of the most exhilarating and refreshing theatrical experiences of 2009 and possibly my life, I’m even headed to Amsterdam in May to see a surtitled production of their Angels in America. So when I heard that the same Dutch theatre company were returning to the Barbican in February, tickets were booked instantly and I am feverishly over-excited for this now! Continue reading “Shows I am looking forward to in 2011”