“I like maths, and I like outer space. And I also like being on my own”
One of the most successful plays of 2012 (and indeed my personal fourth-best play of the year) was the National Theatre’s adaptation of The Curious Incident of the Dog in the Night-time so it was little surprise to hear that it would transfer into the West End, albeit a little belatedly. So from the immersive in-the-round staging of the Cottesloe, it has now graduated to the much larger proscenium of the Apollo but where one might argue it has lost a little something of what made it so intimately special first time round, the transfer expands the physical and visual language of Marianne Elliott’s production to great effect to create something even more theatrical.
Mark Haddon’s novel was inescapable as it rose to cult status and it is impressive that Simon Stephens’ adaptation manages to create something new, albeit entirely recognisable, out of the story. I still remain unconvinced by the touch of meta-business of the characters putting on a play of the story that is largely narrated by Niamh Cusack’s achingly kind Siobhan, but otherwise it is a sensitive and witty re-telling of the tale of Christopher Boone, a teenager who sees the world in an entirely different way to many of us and who is swept up in a personal odyssey spearheaded by his discovery of the body of his neighbour’s dog with a garden fork through him. Continue reading “Re-review: The Curious Incident of the Dog in the Night-time, Apollo”
“People don’t want to hear the answer to a maths problem in a play”
Back in 2003, Mark Haddon’s Whitbread Prize-winning novel The Curious Incident of the Dog in the Night-Time was somewhat inescapable. A murder mystery told from the perspective of Christopher, its quasi-Asperger’s Syndrome-suffering main protagonist whose investigations open up further mysteries that irrevocably change his neatly ordered life, it charmed many a reader with its quirky format and unique voice. It didn’t seem an automatic choice for a theatrical adaptation it has to be said but Marianne Elliott and the National Theatre have turned their hand to it regardless, employing a playwright who has had a ridiculously prolific year so far – Simon Stephens – to adapt it.
I caught the first preview, as I wanted to see it before I went on holiday, and as I missed out on tickets in the first round, I ended up in the ‘pit’, essentially a row of seats at ground level around the Cottesloe which has been reconfigured into the round by Bunny Christie in a design which is always visually arresting and endlessly surprising. Paule Constable’s excellent lighting design works beautifully with the swirling projection work, sequences of numbers tumbling all around, and Elliott has brought in Scott Graham and Steven Hoggett of Frantic Assembly to lend their inimitable style to some of the movement. It is a production that is overflowing with ideas, perhaps a few too many at the moment and the preview period will help refine this a little, but the way in which they combine to powerfully affecting effect cleverly stretches our sensory experience to suggest how differently some see the world. Continue reading “Review: The Curious Incident of the Dog in the Night Time, National Theatre”
“They see you as a hussy who planned to get your claws into the King from the moment you came to Court”
Another revisit to a play in a month that has seen a fair few and once again, it was to a play I hadn’t intended to see for a second time. This time it was Howard Brenton’s Anne Boleyn which premiered at the Globe last summer and which seriously impressed as a piece of new writing which managed to bring a potentially very dry historical subject to vibrant life, both enlightening and amusing audiences in equal measure and earning its star, the luminous Miranda Raison, a Best Actress fosterIAN nomination. When it was first announced that it was returning as part of the 2011 Globe Season, the lacking of accompanying casting news led me (and others) to suspect that she would not be returning with the production and so I was quite happy not to bother seeing it again. Sod’s law dictated that Raison did indeed return though and so my resistance was quickly work down and a visit made to the penultimate performance of the run.
My review from last year can be read here and little has changed in that I really did love it just as much second time round. I’d forgotten just how witty it was from start to finish and just how well-written the whole thing is, but particularly the role of Anne. It really is a superb part, shedding a brand new light on a historical figure of whom so much has already been said, but Brenton makes a convincing case for her as a truly unique figure, dazzling with intelligence but also possessed of reckless abandon in the pursuit of her goals. And Miranda Raison breathes such delightful life into her portrayal, brimming with self-confidence and a self-assurance that allows her to dominate Henry VIII for years whilst his divorce with ‘the Aragon cow’ is sorted out yet makes her entirely likeable. Continue reading “Re-review: Anne Boleyn, Shakespeare’s Globe”
“Make the coming hour o’erflow with joy and pleasure drown the brim”
All’s Well That Ends Well occupies an enigmatic place in the Shakespearean canon, grouped as one of the ‘problem plays’ since it does not fit neatly into one category or another – an enigmatically dark comedy full of ambiguity and curious ethics which means it is not one of the more regularly performed plays, indeed this is the first production to grace the stage of the Globe.
Helena is in love with the arrogant Bertram, son of her guardian the Countess of Rousillon, despite him being well out of her league as she is but a commoner. But when she utilises the skills left to her by her deceased physician father to cure to the King of France of a painful fistula and he gratefully offers a reward of her choosing, she seizes the opportunity to have the king allow her to marry the man of her choosing. Bertram does not take too kindly to being coerced thus and reluctantly submits to the betrothal but declares he will never be a true husband until two seemingly impossible conditions are met and leaves France for Italy to become a soldier, hoping to never see Helena again but she is one determined young lady. Continue reading “Review: All’s Well That Ends Well, Shakespeare’s Globe”
“Thank the Lord you ain’t in there with them”
The first play ever to be written for the Globe by a woman, Nell Leyshon’s Bedlam is the final play to open in this year’s set of offerings. A slice of life of those both in and around the Bethlem mental hospital in London, or Bedlam as it is better known. The plot as such centres around Dr Carew’s corrupt running of the asylum, concerned more with women and profit than observing the Hippocratic oath and actually caring for his patients. But the arrival of new patients and a much more socially aware doctor loosens his grip and soon everything begins to change.
It is huge amount of fun and Jessica Swale’s direction has a very keen sense of the possibilities of playing in the Globe, especially with the yardlings. Soutra Gilmour’s design has the stage in a circle with a ramp going up one side, but if you’re in the yard, be prepared for all sorts of interaction, both on the floor and on the stage and a range of bodily fluids and liquids to come flying at you from the sides and indeed above! And it is so wonderfully musical, taking advantage of the rich archive to pull out a number of songs like ‘A Maid In Bedlam’ and ‘Oyster Nan’, covering ballads to bawdy drinking songs, and it all really works. Continue reading “Review: Bedlam, Shakespeare’s Globe”