“Men may construe things after their fashion clean from the purpose of the things themselves”
I hadn’t originally intended to take in Gregory Doran’s all-black version of Julius Caesar for the RSC, not for any particular reason than just that it didn’t really appeal. It seemed that my instincts had paid off when it was announced that, with a rather odd sense of timing, the production would be filmed in Stratford-upon-Avon and shown on television before it made its transfer to London’s Noël Coward Theatre and then on to a UK tour. But upon watching this televised version which mixed location shooting with action filmed on-stage, I was utterly seduced by Doran’s reinterpretation which sees the play relocated into some unspecified modern African dictatorship.
Most of what I said about the production in my review of the film still holds true so I won’t repeat myself too much. Having been spoiled by the intimacy that television cameras provided, it was a little difficult to readjust expectations in light of being seated in the rear stalls. Missing so much of the detailing, and indeed the clarity of much of the text in a couple of heavily-accented places, meant that I never felt quite as connected to the action as I had previously been, an interesting thing to discover given that the live experience is the one that is always trumpeted. Michael Vale’s crumbling set design did look impressive though, with its looming statue an ever-present reminder of the seeming inevitability of oppressive leadership.
Continue reading “Review: Julius Caesar, Noël Coward Theatre”
“Men, at some times, are masters of their fate”
In the near-overwhelming deluge of Shakespeare love on the BBC which is about to reach its crescendo with the debut of the Hollow Crown season, the decision to film and broadcast the RSC’s current production of Julius Caesar seems a rather perverse one. The show, an all-black adaptation relocated to an unspecified modern African state by director Gregory Doran, has yet to complete its Stratford-upon-Avon run and will embark on a major UK tour including a residency in the West End’s Noël Coward Theatre, so it seems a little counter-intuitive to present it on our televisions – I only hope this does not impact on ticket sales (though given it played on BBC4, one does wonder what viewing figures were actually like…).
Of course, watching a play on screen is not the same as watching it live and though this starts with the opening scene recorded at the Royal Shakespeare Theatre, the first transition cleverly moves us into location filming and so the production gains a filmic quality which makes use of varied locations, including a return to the RST, direct addresses to camera, ‘found’ cellphone footage and voiceovers to really translate the theatrical interpretation into something new for the screen, as opposed to simply replicating it. The relocation is a simple, yet powerfully effective one, the overthrowing of a military dictator by less than honourable types is something which will seemingly always have currency in the modern world, but more importantly the concept is worn lightly with little shoe-horning necessary to make it work. Instead it flows beautifully and naturally to great effect. Continue reading “TV Review: Julius Caesar, BBC4”
“Whate’er you think, good words, I think, were best”
Given the ubiquity of productions of Shakespeare’s works in so many of our theatres, and in particular of certain works within the canon, one might assume that those that remain neglected remain so for a very good reason. But director Phil Willmott and the Union Theatre clearly do not agree and after the successful run last year of Double Falsehood, its disputed authorship notwithstanding, they have now turned to a play that was definitely by Shakespeare, but remains very rarely produced in the modern day – King John. They say things come in threes and after having seen Prince John in The Lion in Winter and in the RSC’s The Heart of Robin Hood, it seems apt to seen him all grown up in this play, even if it might as well have been three different people for all the continuity of character!
The play is focused on questions of legitimacy as John acceded to the throne at the expense of his nephew Arthur to control the Angevin Empire whose borders stretched far into France due to the land originally held by his mother Eleanor of Aquitaine. But he is not a natural-born leader like his father Henry II or brother Richard the Lionheart and his already tenuous hold on his kingdom is further threatened when the King of France throws his support behind young Arthur and demands his abdication. Thus John is driven to increasingly desperate action as battles rage, noblemen’s loyalties waver and to cap it all off, the Pope is displeased and is considering excommunicating him. Continue reading “Review: King John, Union”
Most of what I wanted to say about His Dark Materials have been made in the earlier review of Part I, but I wanted to separate the reviews out as they are treated as separate plays although I can’t imagine anyone would just see Part I, especially with its cliff-hanger ending, and I know I couldn’t have waited any longer than the couple of hours that we did to see Part II on the same day.
This part is where some of the more obvious changes to the original books are more evident. Much of the third book has been excised, the character of Mary Malone not used here and the amber spyglass becomes less important as a result. But the story still works nonetheless, and the trip to the Land of the Dead has to rank as one of the most beautifully realised pieces of theatre I’ve ever seen, haunting and incredibly moving. Likewise, the ending to the whole story was devastatingly done, leaving me crying for a good 10 minutes after we had left the theatre even though I knew what was coming. Continue reading “Review: His Dark Materials Part II, National Theatre”
The National Theatre revived their adaption of His Dark Materials for a second run in answer to my prayers, or so I like to believe, in order to let me see it. The novels by Phillip Pullman are among my all-time favourites and though the idea of translating them to the stage caused me a little trepidation, I was immensely glad of the opportunity of the chance to see the shows.
Adapted with love and precision by Nicholas Wright who has been daring enough to make the judicious cuts necessary to create a workable piece of theatre out of the at-times-sprawling works of literature that form Pullman’s trilogy, the story that is told here is strong and cohesive and told with a sensitive clarity (although I can’t be sure how clear it actually is to anyone who hasn’t read the novels, truth be told). We follow the coming-of-age of two children, Lyra Belacqua and Will Parry and their adventure across a set of parallel universes as they search for answers to huge questions they both have, a journey that causes them to cross paths with polar bears, angels, witches, Texan explorers and in one of the most contentious of the strands of Pullman’s work, the organised might of the Church. Continue reading “Review: His Dark Materials Part I, National Theatre”