“Why, saw you anything more wonderful?”
Robert Hastie’s opening salvo as the new Artistic Director of Sheffield Theatres might not immediately quicken the pulse as we’ve hardly been lacking for productions of Julius Caesar. But it is soon apparent that this is a canny director at work, making his mark on the Crucible Theatre and how its space is used, on our notions of how Shakespeare is traditionally interpreted, establishing what looks like exciting times ahead for Sheffield.
With designer Ben Stones, Hastie opens out the stage into a space of transformative and unpredictable power – the modern political arena is evoked with its UN-style chambers and mod-cons but it is just as much the powder-keg of changeable public opinion. And the way in which the two intersect, feed into each other, thus feels as informed by hatemongering Sun or Daily Mail headline-grabbing antics as it does by the words of a sixteenth century writer. Continue reading “Review: Julius Caesar, Crucible”
Full casting has been announced for Robert Hastie’s upcoming production of Julius Caesar at Sheffield Crucible, his first at the helm, and it looks like an absolute doozie. Not only has he brought back former artistic director Samuel West and tempted definitive-fave-of-this-blog Elliot Cowan back to the stage, Hastie is continuing his commitment to gender parity by recruiting a company of eight men and eight women and sharing out the roles how he damn well wants.
So the show features Samuel West in the role of Brutus, alongside Jonathan Hyde as Julius Caesar. Zoe Waites will play Cassius, Elliot Cowan will play Mark Antony and Chipo Chung will star as Portia/Octavius. The cast is completed by Lisa Caruccio Came (Calpurnia), Pandora Colin (Casca), Robert Goodale (Lepidus), Alison Halstead (Metellus), Mark Holgate (Cinna), Arthur Hughes (Lucius), Robinah Kironde (Popilus, Clitus), Lily Nichol (Soothsayer), Royce Pierreson (Ligarius, Dardanius), Abigail Thaw (Trebonius) and Paul Tinto (Artemidorus, Pindarus).
In case you’ve forgotten, Hastie directed Michelle Terry in the title role in last year’s Henry V at Regent’s Park Open Air Theatre, and Sheffield is clearly very lucky to have him leading one of the country’s leading theatrical institutions. Julius Caesar runs at Sheffield Crucible from 23 May to 10 June, with previews from 17 May, and I’ll definitely be making my way northwards for this.
“I ought to be thankful I’ve got a nice honest, sleepy old thing like you”
Continuing their practice of reviving long neglected classics, JB Priestley’s early comedy Laburnum Grove is the latest work to receive the Finborough treatment, in this case a turn in the limited Sunday/Monday slot. But though their hit rate has been quite successful, this slice of melodramatic suburban life was a rare misfire for me with a solid production unable to disguise a rather aimless story or its meandering intent.
The Radfern family lives a quietly respectable life in the suburb of Laburnum Grove but patriarch George’s patience is sorely tried when the in-laws, staying with them for the duration, make yet another request for money and his daughter’s prospective fiancé likewise proffers an expectant palm, an unexpected revelation shakes up everyone’s certainties. Well I say shake, it’s more like a ruffle, as the pace and mood of this 1930s piece never really picks up from its initial gentle mood. Continue reading “Review: Laburnum Grove, Finborough”
“You’re like the sea, always changing”
Recent weeks have seen a couple of instances where theatre has successfully challenged my preconceptions: A Midsummer Night’s Dream saw me reassess Filter and David Eldridge surprised me with some fantastic writing that really resonated with me in In Basildon. Ibsen however has been a major stumbling block for me – I’ve tried my best, taking in several productions of his work but that connection has never emerged, the reason for his continued popularity completely eluding me. So it would be a lie for to me to say that I went to the Rose Kingston’s new production of The Lady from the Sea with a completely open mind – I was amenable to having my mind changed but it was with a heavy heart that I went there.
I’ve seen the play once before – ironically in a version by David Eldridge at the Royal Exchange in Manchester – and it was not a happy experience. Ibsen’s story focuses on the nymph-like figure of Ellida, settled uneasily in a marriage of convenience to Dr Wangel as memories of her past continue to have a strong pull on her. Wangel tries to facilitate resolution by inviting a man from her past to stay but he stirs up great emotional swells that threaten to pull Ellida back to her beloved sea. Continue reading “Review: The Lady from the Sea, Rose Kingston”
“The reward of sin is death”
The tale of Faust is one which is seemingly never far from our stages in one form or another, whether it is opera, another opera or Icelandic acrobatics. But Christopher Marlowe can lay claim to perhaps being the first to dramatise this story back in Elizabethan times and this production of Doctor Faustus marks the first time it will have been performed at Shakespeare’s Globe.
A strange mixture of dark tragedy and broad comedy, the play looks at the danger of recklessly pursuing the quest for knowledge, power and wealth without due responsibility. Faustus, tired of his life of dusty scholarship, makes a pact with the Devil exchanging his soul after death for 24 years of service from his trusty servant Mephistopheles. Blinded by the material benefits that easy access to the dark arts garners him, the reality of eternal damnation doesn’t hit until far too late. Continue reading “Review: Doctor Faustus, Shakespeare’s Globe”