“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.”
A bit of an odds and sods collection this one, I wasn’t much a fan of any of them tbh,
Julius Caesar from Villa dei Quintili, Rome
Troilus and Cressida from the ruins of Troy
Titus Andronicus from Ostia Antica, Rome
Henry IV, Part I from the gents at The George Inn, to begin at least!
Henry IV, Part II from Westminster Abbey
“There is only one way of treating men, with the iron hand … yield one demand and they will take six”
The list of the NT2000 top 100 plays is an interesting one, full of the sort of plays I wouldn’t ever have chosen to see and so using it as a guide to stretching my theatrical viewing has been illustrative. Which is a roundabout way of saying the latest play I wouldn’t necessarily have chosen for myself that I went to see was John Galsworthy’s 1909 Strife at the Minerva in Chichester, incidentally marking Bertie Carvel’s directorial debut.
Set around an industrial dispute at a Welsh tinplate works where a strike has been running for six months, Strife examines the stresses this places on all concerned. The workers, who don’t have the support of their union; the board, who have travelled from London to thrash out a compromise; and the firebrand leaders of each faction who might not be so different as all that, each equally stubborn in refusing to budge from their position. Continue reading “Review: Strife, Minerva”
“What must the king do now”
A late trip to the Globe to catch Richard II (for which I had a ticket months ago but was waylaid by an exciting game of tennis) at its final Friday matinee. It’s a little funny how this theatre programmes its runs well into Autumn, especially with the vicariousness of British weather, as there was a decided chill in the air even in the afternoon so heaven knows how it feels in the evening. It might be fine for a rip-roaring delight like Nell Gwynn but for the more measured qualities of Richard II, it’s a bit more of a challenge.
Simon Godwin’s production has had quite strong notices and is blessed with the fine Charles Edwards in the title role, but something about it never quite gripped me and so I was a tad more ambivalent than amazed. It’s a singular interpretation of the role, flippant and fabulous to the gold-plated extreme but Edwards’ performance style is so far removed from the rest of the company that it almost feels as if it belongs in another play, the emotional complexity (from everyone really) that marks this venue’s best productions doesn’t quite feel present. Continue reading “Review: Richard II, Shakespeare’s Globe”
“An everlasting funeral marches round your heart”
On paper, this latest incarnation of The Crucible at the Old Vic may seem everlasting – early previews hit four hours and with no change to the 7.30pm starting time, it may feel like an endurance test in the making. But settled in at just under 3 hours 30 minutes, Yaël Farber’s production emerges as a slow-burning success, much in the vein of the Streetcar up the road in being utterly unafraid to take its time to build up the requisite atmosphere of horrifying suspicion and fear that renders Arthur Miller’s play a striking and timeless triumph.
And creatively it really is a triumph – Soutra Gilmour utilising the in-the-round setting perfectly whilst Richard Hammarton’s pervasive music and sound wriggle under the skin and Tim Lutkin’s lighting creates as much shadow as it does light, all combining to heighten the increasingly nightmarish scenario as the action snowballs to the terrible climax we know must come. The immediacy and intimacy that comes from being much closer than usual (for the vast majority in this theatre anyway) is almost unbearable but completely justifies keeping the theatre in this configuration for a while longer.
Continue reading “Review: The Crucible, Old Vic”
“I think it is important for you to discover your true feelings about your position at this moment”
It took seeing it again to remind me, but Tom Kempinki’s exquisitely moving two-hander Duet for One is one of my favourite plays. I simply adored the Almeida’s 2009 production which starred Juliet Stevenson and Henry Goodman and so when a new touring version directed by Robin Hurford was announced, I was keen to see if I could make it. As it turns out and I don’t know who is responsible for these things, it is a rather limited tour with only 2 of 11 venues north of Cambridge. And it is doubly a shame as this is an excellent piece of theatre that deserves to be seen by more than the small crowd that made it to this midweek matinee.
Haydn Gwynne takes on the role of Stephanie Abrahams, a concert violinist whose diagnosis with multiple sclerosis has had a devastating impact on her life, not that she is ready to admit it. Now wheelchair-bound and under her husband’s advisement, she starts seeing William Gaunt’s Albert Feldman, a psychiatrist who attempts to start the painful process of dealing with her new situation, what it means for her life going forward and how experiences of her past also have their part to play in her current emotional state. Continue reading “Review: Duet for One, Churchill Theatre Bromley”
“Do not rejoice in his defeat”
Despite feeling like I live in a theatre at time, my experience of Brecht has actually been very limited. When I first saw Mother Courage at the National, I hadn’t got a clue what was going on and it was a rather disconcerting experience all told. My subsequent discovery that all the shenanigans were an integral part of the show left me a little nonplussed, but since then I haven’t had the opportunity to revisit his work, or maybe I just haven’t been looking hard enough… Even when The Resistible Rise of Arturo Ui was first announced as part of Chichester’s 50th anniversary season, I can’t say the thought filled me with much anticipation.
But the cast was attractive, led by Henry Goodman, and crucially, the word of mouth from trusted souls was excellent and so I booked myself in on a day when those lovely £5 train tickets were available. And I really enjoyed myself, having one of those great experiences where a complete lack of pre-knowledge about the show really paid off to just fascinating effect. Brecht wrote the play in 1941, a story about a small-time Chicago gangster whose violent seizure and control of the cauliflower trade (I know but bear with) saw him ascend to fearsome heights, but the playwright’s true intentions are revealed through the parallels, which are soon crystal clear, with the rise to power of one Adolf Hitler. Continue reading “Review: The Resistible Rise of Arturo Ui, Minerva”
UK – Best male in a supporting role
William Gaunt as Worcester and Shallow in Henry IV, Part 1 and Henry IV, Part 2
UK – Best female in a supporting role
Sheridan Smith as Doris in Flare Path
US – Most promising Male
Santino Fontana – as Algernon in The Importance of Being Earnest
US – Most promising female
Tracee Chimo – as Regan in Bachelorette
“Who is it that can tell me who I am”
Transferring stage productions onto film is something fraught with difficulties as the magic of live performance never really survives the change of medium, so something else, something slightly different has to be striven for. Trevor Nunn’s King Lear for the RSC – originated in Stratford in 2007 then toured the world before a West End season in rep with The Seagull – which stars Ian McKellen in the title role is not a filmed performance on stage, but nor is it a reconceived enhanced film version. Instead, it was filmed rather simply at Pinewood Studios, at the end of the tour, so it has the feel of a piece of theatre rather than of film, with the added bonus of being able to see the acting up close.
And what a bonus it is. McKellen is simply outstanding here. Jacobi’s Lear for the Donmar was my first ever and I couldn’t imagine it ever being bettered, Greg Hicks’ recent RSC one was just different, but this is such an incredibly visceral performance, full of anger and rage and bewilderment that is highly affecting even on screen – what it must have been like live I can’t imagine, but the camera captures every single nervy tic and nuanced touch that must have been missed in some of the larger theatres. And facing up against him is Frances Barber as Goneril in what must be one of the performances of her lifetime. She is just astounding, all kinds of manipulative, Machiavellian evil as she plots her way through the play, but almost justifiably so as the fierce tragedy carved on her face as her father curses her indicates the troubled history between father and daughter. This is the type of performance that makes you wish the sisters were featured much more in the play. Monica Dolan’s Regan is also tremendously strong, a more nervous, unhinged energy that plays out maliciously as she caresses the text languorously and Romola Garai’s Cordelia is beautifully spoken and extremely moving. Continue reading “DVD Review: RSC’s King Lear”