I find much to enjoy in Kimberley Sykes’s production of As You Like It for the RSC at the Barbican, particularly Lucy Phelps’ epic Rosalind
“Then, heigh-ho, the holly!
This life is most jolly”
The critical reception for Kimberley Sykes’ production of As You Like It for the RSC was a little lukewarm this summer, all 3 stars and grudging praise. But I found myself really rather seduced by its many charms, as it opens the winter residency for them at the Barbican. And in Lucy Phelps, a Rosalind full of big dyke energy for the ages. Read my four star review for Official Theatre here.
Running time: 2 hours 50 minutes (with interval)
Photo: Topher McGrillis
As You Like It is booking in rep at the Barbican until 18th January
I have a mixed time with some shaken-up Shakespeares – othellomacbeth at the Lyric Hammersmith; Twelfth Night at the Young Vic; Much Ado About Nothing at the Watford Palace; and Measure for Measure at the Donmar
“Condemn the fault and not the actor of it?”
I’m the first to say that modern adaptations of Shakespeare need to do something different to justify their place in today’s theatre ecology. Lord knows there’s been enough traditional renditions of his work, and still they come, and even if there are always going to be people coming for the first time, there’s also a real need to make his plays speak to contemporary society in a way that is unafraid to challenge his reputation. It is perhaps no surprise that it is female directors and directors of colour who are at the forefront of doing just that and there have been four key examples in London most recently – Jude Christian’s othellomacbeth at the Lyric Hammersmith, Kwame Kwei-Armah and Shaina Taub’s Twelfth Night at the Young Vic, Brigid Larmour’s Much Ado About Nothing at the Watford Palace and Josie Rourke’s Measure for Measure at the Donmar.
And of course, having demanded that this is what directors do, I found myself disappointed at the majority of these, for some of the same reasons and some different ones too. Perhaps the most formally daring is Christian’s othellomacbeth which smashes together the two tragedies to create something which ends up less than the sum of its constituent parts. Its intentions are certainly noble, seeking to highlight the female voices in these plays and give them prominence. But the reality is that in the two substantially reduced treatments here, everything becomes diminished, not least narrative clarity. There’s one cracking idea which connects the two, which you suspect might have inspired the whole production, but ultimately, it is not enough to hang the whole thing on. Continue reading “Blogged: shaking up Shakespeare”
What happens when whack-a-doodle becomes wearying – find out in Pity at the Royal Court
“What happens next is verging on the ridiculous”
Things start off well at Rory Mullarkey’s Pity. We’re directed to the rear of the Royal Court, enter through the back and get to walk over the stage with tombolas, ice-creams and brass bands all around (I’d happily listen to the Fulham Brass Band’s version of ‘Hello, Dolly’ all day). Chloe Lamford’s design certainly looks a treat in all its cartoon-comic brightness but ultimately, is indicative of a real issue with Sam Pritchard’s production.
“You need to turn your attentions to different people”
For Mullarkey’s play is concerned with violence – paradigm-shifting, society-shattering violence and the way that the British might very well respond to it. And as he suggests that we’d react to the collapse of civiliisation by making a cup of tea, you can’t help but wonder, really? On the one hand, everything here is telling you not to take things so seriously. On the other, communities across the world are being ripped apart in actual conflicts. It’s a tension that never satisfactorily resolves here. Continue reading “Review: Pity, Royal Court”
Not even Judi Dench can save this irresponsible look at the British colonial legacy, Victoria and Abdul nevertheless takes two Oscar nominations into the ceremony.
“It is imperative that the royal colon receives a little roughage”
AKA The Other V&A. You can see the rationale behind Victoria and Abdul, allowing Dame Judi Dench to reprise her much-loved role from Mrs Brown with another 20 years under her belt. And directed by Stephen Frears from a screenplay by Lee Hall, hopes were reasonably high.
What results though, is a film that indulges in an irresponsible kind of historical revisionism, a refusal to engage with and interrogate the reality of British colonial rule. Hall’s version of Victoria is allowed to be coyly ignorant of the looting of Indian treasure, a champion of diversity too in an improbable twist. Continue reading “Oscar Week Film Review: Victoria and Abdul”
“Do not torment me, prithee”
Last up in the RSC’s Shipwreck Trilogy, in the What country friends is this? season was The Tempest. In some ways I wish I’d seen this closer to The Comedy of Errors and Twelfth Night (which I saw on consecutive days in June) as the thrill of watching an ensemble across multiple plays is magnified much more that way. As it was, my enthusiasm for The Tempest – never one of my favourite Shakespeares and now totally ruined by the fact that I’ve now seen what will probably the best version ever – had waned slightly as I returned to the Roundhouse.
The reality was neither as bad as I had feared nor as good as I might have hoped. David Farr’s production (I wish they’d gotten in a third director to really mix things up) has its moments of inspiration and interest, but these are scattered throughout rather than invigorating the whole show and so my abiding feeling was of unevenness. For the great visual impact of Prospero having the islanders dress in identikit suits, little is done to enliven the immense amount of speechifying that the character does, Jonathan Slinger’s performance having a strangely unnerving impact more than anything. Continue reading “Review: The Tempest, RSC at the Roundhouse”
“I am as well in my wits, fool, as thou art”
What country friends is this? indeed. A nifty line switch and a striking coup-de-théâtre gets the RSC’s Twelfth Night off to a wonderful start as Emily Taaffe’s sodden, anguished Viola emerges from the shipwreck she believes has taken her brother’s life and left her washed up in Illyria. Disguising herself as Cesario, a man, she joins the retinue of the Duke Orsino but finds herself swept up in the love games between him and the grieving countess Olivia, whose eye is taken by the new arrival on the scene. Part of the company’s Shakespeare’s Shipwreck Trilogy, the Roundhouse plays host to the repertory season for just under a month before returning to Stratford-upon-Avon for the rest of the month.
David Farr’s production transfers the majority of the action in Olivia’s household to a Greek hotel (which she presumably owns) which proves a mostly effective and ingenious relocation. Malvolio becomes the hotel manager, Feste the old school variety turn, a reception desk stands in for the box-tree and the swimming pool and revolving doors provide constant amusement. Jon Bausor’s beautifully designed set is actually a triumph, an artfully exploded hotel suite on the sweeping expanse of timber atop a water tank, complete with working lift shaft which comes into its own in the scenes of Malvolio’s torment. Continue reading “Review: Twelfth Night, RSC at the Roundhouse”
“I will go lose myself and wander up and down to view the city”
The endless whirl of festivals continues apace with the return of the RSC to its adopted London home at the Roundhouse. As part of the World Shakespeare Festival, which in turn is part of the London 2012 Festival, the RSC’s Shipwreck Trilogy brings together one company and two directors over three plays which are bound together through their similarities, entitled What Country Friends Is This?. First up is Palestinian director Amir Nizar Zuabi’s take on The Comedy of Errors, a fresh and frenetic romp through the play which, whilst it may lack some poetry, has been invested with a great energy.
Ruled over by a maniacal gun-toting Duke, it is instantly clear that this Ephesus is a dangerous place in which the threat of death is ever-present and a genuine reality. Onto a grim looking quayside, Antipholus and Dromio of Syracuse are deposited as illegal immigrants in the elusive search for their twin brothers from whom they were separated in a shipwreck. Unbeknownst to them, they’ve alighted in the right place but almost immediately they are mistaken for their Ephesan brothers and brings into motion a hectic tale of misunderstandings and madcap capers. Continue reading “Review: The Comedy of Errors, RSC at the Roundhouse”