“You’re a great-great-great-grandson of the Bruce. Like me. You could be King.”
On first sight, it may seem that James II – Day of The Innocents is the weakest of The James Plays. On a personal note, it is blighted with blasted puppets which is rarely a good thing for me and more generally, the structure of the first half is more challenging than anything else across the trilogy. But on reflection and on reading the play, it isn’t that difficult to follow and across the broader sweep of the three dramas, there’s something admirable in the determination of writer Rona Munro and director Laurie Sansom to stamp a different identity on each one and ensure that whilst seeing them all would be great, it is far from necessary.
As with his father, assassinated by some disgruntled noblemen, the young James II finds himself a prisoner for much of his early life, this time held captive by Scotsmen though, who use the young monarch to legitimise their dominance of the privy council. Through a series of fever dreams, flashbacks are played out with nightmarish intensity by the puppets whilst concurrently we see their effects on a haunted young man. Much of the success of these scenes lies with the listeners – Blythe Duff’s imprisoned Isabella and Sarah Higgins’ compassionate Meg – who anchor the fantasia of this first half and gently hint at the forthcoming trials that James must face. Continue reading “Review: James II – Day of The Innocents, National Theatre”
“I am the King of Scots. In 18 years I never forgot that”
The first of The James Plays – a co-production between the National Theatre of Scotland, the Edinburgh International Festival and the National Theatre (of Great Britain) – James I – The Key Will Keep The Lock sets the tone for this Scottish history trilogy brilliantly. Rona Munro guides us in with the recognisable figure of Henry V of England but then unleashing upon us the little-known and little-explored early Stewart kings and the maelstrom of conflict that was the Scottish court.
The reason we meet Henry V (a wonderfully belligerent Jamie Sives) is that for 18 years he kept James Stewart a prisoner, humiliating him at every opportunity, and it is only after Henry’s death that James was able to negotiate a release to return to his own kingdom, albeit one that barely recognised or wanted him. From these inauspicious beginnings, we then see how he sets about ruling with an iron fist, finding that the only way to dominate the murderous noblemen is join right in the skulduggery. Continue reading “Review: James I – The Key Will Keep The Lock, National Theatre”
There’s something special about being allowed to take part in something unique and though Unusual Unions actually took place twice on the same day, it still counts as a one off in my book. Part of the Royal Court’s convention-busting The Big Idea stream of work, this was a collection of 5 short plays all responding to the ideas raised by Abi Morgan in her main house show The Mistress Contract, taking place in unexpected nooks and crannies of the theatre in wonderfully small groups.
From dressing rooms to stairwells, the space under the stage to meeting rooms with a view, it was a brilliant way of exploring a building which isn’t normally so open (Wilton’s Music Hall’s promenade version of Edmund fulfilled a similar purpose). And even if the subject matter seemed to veer off what one might have expected, given the sexual nature of Morgan’s play, it was still compelling stuff looking at the ways in which we connect (or not) with those around us. Continue reading “Review: Unusual Unions, Royal Court”
“All jealous women are mad”
Stephen Unwin’s run of home-grown productions for the Rose Kingston, where he is also Artistic Director, continues with this revival of Arthur W Pinero’s Victorian melodrama, The Second Mrs Tanqueray. Respectable member of society and widower Aubrey Tanqueray scandalises his friends when he suddenly announces he is to be married again. The issue is that his intended, Mrs Paula Jarman, is a woman with a past – a sexual one at that – but his determination to go through with the marriage leaves Paula feeling increasingly alienated from her new world and particularly from her new stepdaughter. And try as they might to overcome their differences, secrets from the past threaten to overwhelm everyone.
Though meant to be something of a mismatched couple, James Wilby and Laura Michelle Kelly struggle to convince that there could have been anything between Aubrey and Paula, both performances missing some psychological depth to point us to the truth of their characters. Wilby does mannered Victoriana extremely well but seldom gives a sense of real man behind the bluff exterior, and Kelly’s whole air a little too girlish, rarely feeling born of the frustrations of a life already lived though the second half does see her start to darken the tone effectively. Continue reading “Review: The Second Mrs Tanqueray, Rose Kingston”