By William Shakespeare (with a little help from Dominic Power)
Directed by Andrew Hilton
Company: Shakespeare at the Tobacco Factory (STF) and Tobacco Factory Theatres (TFT)
Venue: Tobacco Factory
Date: Thursday 31st March 2016
This production was a revelation: we were completely enthralled by this adapted version of one of Will’s ‘troublesome’ plays. As it was the first night, the cast were a little tense to begin with, but after some strong laughs in the first half, they relaxed into it, and the rest of the performance was noticeably more confident. There’s still some improvement in it even so; a few lines were fluffed tonight, but that’s to be expected, and one or two of the scene changes are likely to speed up with practice, but nothing detracted from this superb interpretation of this less-performed play.
By Christopher Marlowe
Directed by Maria Aberg
Venue: Swan Theatre
Date: Wednesday 30th March 2106
Maria Aberg is fast heading for “Danger, Will Robinson” status, given to those directors whose work we avoid so as not to waste any of our precious remaining minutes on this planet. This production moved her a good few notches closer – only memories of her As You Like It stand between her and oblivion. (I doubt this will trouble her in the least.) Tonight’s offering was dire in every way except the performances by the lead actors – we have huge respect for the work they do, and given the unfortunate nature of the production they did as well as could be expected. Even so, I avoided adding to the applause at the end, and Steve’s contribution was polite but unenthusiastic.
By William Shakespeare
Directed by Simon Godwin
Date: Tuesday 29th March 2016
This was a fascinating production. The choice of setting – the Central African Kingdom of Denmark – added spice and plenty of colour to the usually dour atmosphere, and the combination of clear dialogue and some strong ensemble performances made for an enjoyable and occasionally gripping evening. I still have reservations about a few of the staging choices, and there were some periods when the energy dropped a bit, but Paapa Essiedu showed his star credentials with his intelligent and mercurial portrayal of the central character. We could see some echoes of his Romeo from last year at the Tobacco Factory, but these were very slight, and didn’t detract from his amazing stage presence and total embodiment of his role. I will be very interested to see this again and indeed any future productions in which this young man participates.