“Art can’t be made into a spectacle; you can’t put it in a box”
There’s something quite remarkable about the boldness with which Blanche McIntyre has reinterpreted Chekhov’s perennial classic The Seagull for Headlong. Gone is the stuffy country house to be replaced by Laura Hopkins’ expressionistic, open space and the formality of the Russian’s words has been supplanted by John Donnelly’s fresh new version which refocuses the play’s centre away from melodrama to something sharper, funnier, more powerful even. This is an interpretation that genuinely makes the play feel new.
McIntyre introduces notes of meta-theatre to push home the exploration of the nature of art and artists that now sits at the heart of the play – the house lights come up as characters direct their soliloquies straight to the audience, the blank rear wall becomes the page of a notebook complete with significant changing scribbles, the stark simplicity of the set allowing for a deeper intellectual excavation of the issues of art and love and creativity and sex. And it is a compelling mixture, all pushing along the vital narrative and driving these familiar characters to their predestined fates with a fresh new verve. Continue reading “Review: The Seagull, Headlong at Watford Palace”
“For man is a giddy thing, and this is my conclusion”
Transferring into the Noël Coward theatre, Iqbal Khan sets his RSC production of Much Ado About Nothing in modern-day Delhi, as a fitting counterpart to the African-dictator-led take on Julius Caesar which is now touring the UK after its London run. It’s a lengthy take on the play which does little by way of apparent editing, which is mighty impressive given the strength of the vision here, but it turns out the commonalities with contemporary India make this a great (arranged) marriage which is full of interesting scene readings which make this an intellectual, as well as visceral, pleasure.
I found lots of to love, but particularly what had been done with the watch scenes, normally something tolerated with gritted teeth. Here, they are a group of social misfits, almost Napoleon Dynamite-inspired and it really really works, mainly because of the straightness of the bat with which the actors play it. We’re always laughing with, and not at them and they’re never played as stupid – in fact, something rather touching emerges from their determination of purpose. Niraj Chag’s music is also something wondrous to behold. Vivid, sensuous, powerful, it richly enhances the whole production and the six musicians who play throughout the show get a well-deserved bow at the end. Continue reading “Review: Much Ado About Nothing, Noël Coward Theatre”