“The world is made for men, not for women”
Does the world really need more Oscar Wilde? A whole season’s worth? One of the less inspiring decisions of the year was this takeover of the Vaudeville by the Classic Spring Theatre Company. Perhaps aware of this, Dominic Dromgoole has identified something the world really does need more of – Eve Best in our theatres (and later in the season, Kathy Burke directing). But is that enough to mitigate the resuscitation of this lesser-performed work.
Well almost. There’s no pretending that A Woman of No Importance is a particularly great play which has been languishing unfairly in the doldrums. But it does have the bonus of being a women-heavy play and one with an intriguingly strong thread of feminist thought to it. After a dalliance that resulted in a child, Mrs Arbuthnot’s social ruin is contrasted with Lord Illingworth’s consequence-free escape but 20 years down the line with their son all grown up, their paths cross again. Continue reading “Review: A Woman of No Importance, Vaudeville”
Despite having little interest in a season of Oscar Wilde plays, the predictably excellent cast for A Woman of No Importance means that my resistance will be utterly futile as the full cast joining the previously announced Eve Best from 6th October at the Vaudeville Theatre has now been announced.
Joining Best is Anne Reid, Eleanor Bron and William Gaunt, and now completing the cast is Emma Fielding, Dominic Rowan, Crystal Clarke, Harry Lister-Smith, Sam Cox, William Mannering, Paul Rider and Phoebe Fildes.
Directed by Dominic Dromgoole, the play is the first in his new company’s year-long season celebrating the work of Irish playwright Oscar Wilde and it has also been announced that a series of talks will take place before certain performances of A Woman of No Importance. Oscar Wilde’s grandson Merlin Holland will give the first pre-show talk on 14th October, offering an insight into Wilde’s life and work. On 19th October, Stephen Fry will reflect on his time plying Oscar Wilde in the 1997 film Wilde. On 11th November, Frank McGuinness will consider Wilde alongside Ibsen and Strindberg in ‘Wilde the European’, and on 7th December, Franny Moyle will explore “Wilde’s women.”
“Though I look old…I am strong and lusty”
From the minute Michelle Terry’s Rosalind launches into an actual tizzy at the sight of Orlando’s ripped body (an inordinately but irresistibly muscular Simon Harrison), the warmly joyous spirit of Blanche McIntyre’s As You Like It is never in doubt. The contrasting textures of Shakespeare’s elegant yet complex comedy are well balanced, its musical elements pushed to the forefront with a folkish score from Johnny Flynn but above all, there’s a sense of intelligent fun that delights in taking its time to reveal itself.
Terry has been establishing herself as one of our leading Shakespeareans and this energetic and impulsive take on Rosalind is an absolute privilege to watch. Constantly on the edge of her emotions, she skips from the giddy heights of love at first sight to the crushing pain of banishment in the blink of an eye. And as she explores the nature of love and the heart, her heart in particular, her deftly comedic manner whilst disguised as Ganymede is just glorious, her continual delight at what she is discovering a constant joy. Continue reading “Review: As You Like It, Shakespeare’s Globe”
“If you marry me you’ll never be a candidate for the Vatican”
Originally seen at Shakespeare’s Globe in 2006 and 2007 as In Extremis, Howard Brenton’s newly retitled Eternal Love marks the 21st birthday year of English Touring Theatre and the first instalment in a three-year-long project to tour quality drama across the country. On a personal note, it also saw my first ever visit to Cambridge (too brief for my liking, I look forward to a return) and the Cambridge Arts Theatre (very friendly, I like the fact I found the bar before I found the box office!).
The retitling offers a further clue to its subject matter in a subtitle The Story of Abelard and Heloise but in some ways, this feels a little bit of a misnomer. For though the enduring love story between the medieval theologian Peter Abelard and his fearsomely intelligent student Heloise is a central part of the play, Brenton also focuses on the key philosophical debate of the time, as intense rival Bernard of Clairvaux declares his determination to defeat this heretical foe and maintain the doctrine of absolute faith. Continue reading “Review: Eternal Love, Cambridge Arts Theatre”
“It may suit the crude palates of ruffians, but there’s more tune in the one derisory ditty my flunkey can play on his fiddle called ‘Lumps of Pudding’ than there is in an entire afternoon of this inflated chronicle of Purcellian shit”
Alongside their much-vaunted productions of Shakespeare’s work, the Globe theatre is a sterling champion of new writing for its theatre as well. The results have arguably been a bit patchy (Globe Mysteries…) but in some cases simply divine (the glorious Anne Boleyn) and so I approached the new first offering of the season – Samuel Adamson’s Gabriel – with cautious optimism. The caution came mainly from hearing that this wasn’t so much as a play as “an entertainment with trumpet”, and I have to say that for me, only the second part of the description was true.
Adamson has written a series of playlets set in late-Restoration period London (1690s) about life and love and sex and music, which are threaded together by a series of musical interludes from the English Concert Orchestra led by trumpeter Alison Balsom who takes us through a selection of Purcell’s music. It’s a strange mixture and one which never really quite finds a satisfying balance – the snippets of drama mainly crude and banal, the rare moments of enlightenment over far too quickly to really give gratification. And the music feels constrained by its setting here, constantly interrupted by the dramatic diversions and of a far superior standard.
One can hear the creative thinking behind this ‘entertainment’, hoping to cast off stuffy stereotypical images of classical music and bringing it to a new audience, but the format precludes genuine engagement with the material on either side – neither the drama nor the music can really flourish with all the chopping and changing. And with the levels of bawdiness at almost unbearable levels – I simply do not understand why people find farting jokes so funny – I found this a most trying afternoon indeed. That said, I did go home and buy Balsom’s album of Purcell and Handel music Sound the Trumpet, so maybe it did the job after all!
Running time: 2 hours 40 minutes (with interval)
Booking until 18th August
“The isle is full of noises”
It’s always nice to be surprised by a night at the theatre, especially with a play with which one is rather familiar. And more importantly in the case of The Tempest is the feeling that I have already seen a production of the play that will rank as one of the best pieces of theatre I’ve ever seen in Cheek By Jowl’s extraordinary Russian interpretation back in 2011 – Caliban and Miranda’s parting is forever seared on my mind. But The Globe is nothing if not reliable and in casting Roger Allam as Prospero, director Jeremy Herrin knew exactly how to get me along in hope of a genuinely brave new world.
And in some ways it does it. Allam brings a studious humanity to the exiled sorcerer – less anguished magician and more concerned father, making his reading of some of Shakespeare’s most evocative writing almost unbearably moving. His control of the language is just superb, imbuing even the most innocuous of lines with worlds of meaning, so often restrained but flaring magnificently like a bearded Brunnhilde when provoked. He’s wryly amusing too, his insistence on protecting his daughter’s virtue particularly well-observed as a running gag. Continue reading “Review: The Tempest, Shakespeare’s Globe”
“It takes a certain kind of person to work in the city”
Nicholas Pierpan has looked previously at the financial sector before in his monologue The Maddening Rain, but in his new play You Can Still Make A Killing which is now coming to the end of its run at the Southwark Playhouse, his focus pulls out much wider than the impact on just one man. Edward and Jack were both traders at Lehman Brothers but their lives took significantly different turns after the company collapsed as the crisis in financial systems across the world began to really bite.
With too much invested in the firm, Edward’s world falls apart and he is left hanging around hopelessly in his old Starbucks, trying to wheedle his way back in through overheard gossip and tips from former colleagues. He eventually gets a job, but at the Financial Regulations Authority (the FSA by any other name), investigating the very nefarious practices that he himself had been involved in and soon the name of his old friend Jack pops up. For Jack managed to somehow keep his plates spinning in the air and kept his job, as ever more inventive ways of bending the system become necessary. Continue reading “Review: You Can Still Make A Killing, Southwark Playhouse”
“He did do it, didn’t he?“
One of the side-effects of seeing so much theatre is that there is less time available to imbibe other forms of culture and for me, it has meant that I watch hardly any television these days. I rely on the iPlayer (although too much of what I download ends up lingering unwatched and then expiring) and other catch-up TV services, or else I add the DVD to my ever-growing pile of things to watch on a rare quiet day. Which means it frequently takes me ages to catch up, even with things that I am most looking forward to, one of which was the second series of Peter Morgan’s The Jury which played on ITV last year.
To be honest, calling it a second series is something of a misnomer as it bears no real connection to the first one from 2002, aside from being a show about a jury, which is something of a shame as that show remains one of the televisual highlights of my life. It was one of the shows that introduced me to love of my life Helen McCrory and also featured a smoking hot pre-Hollywood Gerard Butler, but also played out as a rather satisfying combination of character study and legal drama. This time round, the case in question was a retrial of a triple murder, but the focus is as much on the lives of the twelve people eventually selected as jurors. I’m not quite sure why Morgan decided to revisit the format, as in the end it was to somewhat lesser effect for me. Continue reading “DVD Review: The Jury (Series 2)”
“Verily, I speak it in the freedom of my knowledge”
It is no surprise to anyone who reads this blog that any mention of Alexandra Gilbreath – recent winner of the Best Supporting Actress in a Play fosterIAN to be sure – sends me all a quiver. So when someone told me about this production of The Winter’s Tale which features not only her as Hermione but also has Nancy Carroll lurking in the ensemble, I was most keen to watch it. Plus there’s the small matter of Antony Sher as Leontes, an actor whom I am always intrigued to see more of as I’ve have actually had little experience of him as a performer.
An RSC production from 1998, this was recorded at the Barbican and so as a straight filming of the stage show, it is free from the kind of directorial innovation that blighted (IMHO) the versions of A Midsummer Night’s Dream and The Tempest also covered this weekend. Instead, we get the theatrical experience minus the live thrill but with the added bonus of close up work. And it is a great bonus here. Sher does so much acting with his eyes as a paranoiac Leontes, mentally damaged as suggested by a prologue and incapable of not seeing the dark shadows in the corner of the room. The way his suspicions are aroused by Polixenes’ attentiveness to his wife is brilliantly done as she is actually suffering from pregnancy pain but Leontes misses the crucial moments and all too easily lets the darkness consume him. Continue reading “DVD Review: The Winter’s Tale (RSC at the Barbican, 1998)”
“The reward of sin is death”
The tale of Faust is one which is seemingly never far from our stages in one form or another, whether it is opera, another opera or Icelandic acrobatics. But Christopher Marlowe can lay claim to perhaps being the first to dramatise this story back in Elizabethan times and this production of Doctor Faustus marks the first time it will have been performed at Shakespeare’s Globe.
A strange mixture of dark tragedy and broad comedy, the play looks at the danger of recklessly pursuing the quest for knowledge, power and wealth without due responsibility. Faustus, tired of his life of dusty scholarship, makes a pact with the Devil exchanging his soul after death for 24 years of service from his trusty servant Mephistopheles. Blinded by the material benefits that easy access to the dark arts garners him, the reality of eternal damnation doesn’t hit until far too late. Continue reading “Review: Doctor Faustus, Shakespeare’s Globe”