“That seeming to be most which we indeed least are”
Despite being one of Shakespeare’s more notorious plays, The Taming of the Shrew has enjoyed a long and varied performance history as productions seek to try to present this difficult tale of female subservience in a way that is acceptable to audiences. It has proved trickier though in modern times to square the misogynistic circle and so directors often find themselves upping the innovative ante to unearth interpretations which will prove satisfyingly revelatory. What this often means in practice though is that a high concept is adopted which offers insight into part of the story whilst the rest is left straining to fit in. Lucy Bailey is the latest to try and tame the Shrew here for the RSC in a production which has played a season in Stratford and is now on a short tour of the UK, currently here in Richmond.
The angle that she chooses to focus on is the Induction, the framing device that sets the story in its context – this is all just a performance being put on by a rowdy bunch of friends to delude the drunken fool Christopher Sly. Sly – a bumptious revealing turn from Nick Holder – is kept on stage throughout most of the first half and in some ways, this almost convinces us that what we are watching is but a drunken fantasy. But he is gradually phased out of the show, and so the apparent importance of being reminded that this isn’t real is stripped away and the second half played largely straight as a story that suddenly is to be taken more seriously. Continue reading “Review: The Taming of the Shrew, Richmond Theatre”
“You’ve got to feed your fanny”
Ain’t Twitter grand. All sorts of randomness appears on Twitter, peccadilloes exposed, truths revealed and a whole lot of guff expounded about any range of subjects. But sometimes little gems appear (and not just the lettuces) as it was with this YouTube clip that was pointed out to me. It’s a spoof South Bank-style documentary, following the fortunes of an actress ‘up-and-coming’ as described by only her, and her disastrous experiences in the company of a newly opened show.
It was actually put together by the cast of When Did You Last See My Mother which played at the Trafalgar Studios 2 last year, assumably for a bit of a laugh and though it is perhaps a little overlong, I’d say it is worth the watch. It feels quite Victoria Wood-like (I think it most reminds me of a backstage episode of Acorn Antiques) and is often quite amusing in the way it contrasts the accounts of her God-given talent and the forced smiles of her co-stars as they are grudgingly interviewed, and the realities of just how shit she is as revealed by hilarious ‘candid’ encounters with the same colleagues as she continually screws up and is exposed for the chancer she is. Continue reading “Review: Backstage Pass (pilot) Inside Fanny”
In lieu of Mr Cowan’s (twice winner of this category) highly unfortunate ineligibility (due to the fact I haven’t seen him onstage this year), I was toying with the idea of renaming this award along the lines of The Elliot Cowan Award for Hotness, (cue bonus pic)
but thought better of it. In any case, I present to you the winner, and then the 9 runners-up in no particular order of the men (so many of whom called Dominic) who made going to the theatre so much, somewhat less of a trial. This has also regularly been one of the most popular posts I do each year, shame on us all!
Continue reading “Leading Man of the Year 2011”
“You can be terribly tactless Ian”
There are two ways this review could go and since I ticked the ‘fanboy going overboard’ box with a mildly amusing drunken encounter (which rebounded on me in the most unexpected way – actors read this thing?!) at the Hampstead Theatre 2 Fridays ago, I shall try to use a more measured approach here. But the uninitiated should know that I do have a slight admiration for the work of Sam Swainsbury… 😉 Anyhoo, to the matter in hand. When Did You Last See My Mother was the first play that Christopher Hampton ever wrote as a teenager in 1964, but despite his reputation has remained rather unknown.
And it is a little hard to believe as whilst it may not be the most sophisticated piece of theatre with an ending which whilst sweet is a little too neat, it contains a masterful piece of character work with main protagonist Ian that is a gift of a role for a talented young actor. Director Blanche McIntyre has chosen wisely in casting Harry Melling, perhaps the one of the kids from of the Harry Potter who has shown the most promise as an actor, on the stage at least, and he delivers an extraordinary performance. Continue reading “Review: When Did You Last See My Mother, Trafalgar Studios 2”
“Alas, poor women! Make us but believe…”
Revisiting The Comedy of Errors, one of the Propeller shows currently residing at the Hampstead Theatre proved to be even more fun than seeing Richard III again as I found myself enjoying it more on second viewing. I actually trekked up to Sheffield to see this at the beginning of their tour and my review of the show from then still stands as there really is little more to add and i’m running out of superlatives with which to describe the guys: “anarchic panache” and “reverentially irreverent” are my personal favourites.
I can’t help but feel, that more so with this than RIII, that this is about as definitive an interpretation of the play as I will ever see. RIII has its absolutely delicious moments to be sure but I have seen and can still see other ways of doing the play that would work (if not quite as well) but in terms of getting the laughs out of a Shakespearean comedy, this is in my experience unequalled. Hardly a joke misfires or an eyebrow raises as it is all so finely tuned and carefully interpreted to extract the maximum enjoyment that I can’t see why anyone wouldn’t love this. Continue reading “Re-review: The Comedy of Errors, Propeller at Hampstead Theatre”
“I like you lads; about your business straight”
It seems only natural that Edward Hall would bring Propeller’s touring double bill of Richard III and The Comedy of Errors to the Hampstead Theatre, he is after all the Artistic Director for both the all-male Shakespeare company and the Swiss Cottage venue, but when the shows were first announced, there was no mention of London in the tour. Keen to have my first Propeller experience, trips were made to Guildford and Sheffield to see the shows and then as sod’s law would have it of course, a short residency in London was announced. Still, I am glad that I got to see the shows earlier, way back in November in the case of Richard III, as it has meant I was able to see them, love them, recommend them to all and sundry as they toured the country and finally get to revisit both shows as I’m pretty sure this is about as good as interpretations of Shakespeare can get.
My review of Richard III back in November in Guildford can be read here and to be honest and somewhat less than humble, reading it back, I think it is one of my best pieces of writing in capturing how exhilarating a production it is and how enthusiastic I felt about it. Very little of my exceedingly positive opinion has changed and taking in a second viewing allowed me to appreciate some of the smaller details that passed me by first time round as there really are so many inventive touches in here, it feels impossible to soak them all in with a single viewing. Continue reading “Re-review: Richard III, Propeller at Hampstead Theatre”
“Men, all divine, the masters of all these”
It is not often that I start off reviews with a negative comment but it must be said that Ed Hall and his Propeller company are naughty, naughty boys. When they announced their tour of their new productions, London was not among the cities and towns being visited so schedules were looked at, train timetables checked and we duly booked trips to Guildford to see Richard III and to Sheffield to see The Comedy of Errors. They then of course announced a short stop at the Hampstead Theatre which would have cut down on my travelling time somewhat. But, they don’t play there until the end of June and having seen both these shows now, I don’t think I could have coped with the anticipation waiting that long as they are sensationally good.
Ephesus has been re-imagined as a Costa del Sol type resort in Michael Pavelka’s design, full of football-shirt wearing blokes, geezers selling fake watches and flirtatious policemen and the air is filled with music, played live by the company who frequently break out into song, mostly snippets of cheesy 80s tunes which are brilliantly done and never outstay their welcome. Most of the ensemble remain onstage throughout, slipping out of their main role and into this group to provide a raft of sound effects straight out of a cartoon which are ridiculously funny and creating amusing moments in group scenes. Continue reading “Review: The Comedy of Errors, Propeller at Sheffield Lyceum”
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”
Whereas the aim of the blog has always been to take a semi-serious look at theatrical productions up and down the country, when it comes down to it, I can be extremely shallow and get easily distracted by pretty faces and fit bodies. And so too, it seems, do my readers as my Leading Man of the Year post last year has consistently been one of the most viewed posts on here!! So without further delay, I present to you my top ten of 2010: some familiar faces, some less well-known and some unexpected crushes, but all of whom set my little heart a-flutter at some point this year.
Continue reading “Leading Man of the Year 2010”
“Thus it is when men are ruled by women”
I have not been lucky enough to catch Propeller, Edward Hall’s all-male Shakespeare company, in my theatregoing thus far and it was only the perseverance of a new friend at Boycotting Trends that convinced me to make the trip (also my first) to the Yvonne Arnaud Theatre in Guildford in order to catch Richard III, the first of their two plays that they will be touring for the next several months in rep with The Comedy of Errors. And boy am I glad that he did, for this reimagining of the history play into a post-modern gothic Victoriana-fest is pretty close to being unmissable.
The story of Richard, Duke of Gloucester, youngest son of his Plantagenet family yet possessed of a burning ambition to be King and utterly ruthless in his bloodthirsty, backstabbing, blackmailing and brutal climb to the throne, is one of Shakespeare’s longest plays but Edward Hall along with Roger Warren has adapted and re-edited the text into something more dramatically compelling than I remember this play ever being, mainly through incorporating an outrageously comic, even vaudevillian approach to the dastardly deeds that are carried out. Continue reading “Review: Richard III, Propeller at Yvonne Arnaud Theatre”