Tag Archives: Complete Works

The Tempest – YPS – September 2006

Experience: 3/10

By William Shakespeare

Directed by Patsy Rodenburg

Company: Guildhall School of Music and Drama

Venue: Swan Theatre

Date: Monday 11th September 2006

I was a little disappointed with this, although there were a number of good points. The performances were generally good, but the delivery wasn’t always powerful enough, so lots of lines were lost. While I would agree with the cuts that had been made – the shipwreck, the performance of the goddesses, the fake feast – the resulting text felt a bit clumsy, and in some cases, where a ‘famous’ line had been kept, there were references that didn’t make sense in this version.

However, the staging worked well on the whole. The initial shipwreck is suggested with a piece of blue cloth held up, waist-high, by the characters on the ship (dressed in suits). At each end stands Ariel – in this production Ariel is being played by two actors, a man and a woman. This was a very unusual choice for me, and I thought it worked very well. In this case, it allowed the Ariels to start moving the cloth from side to side, causing the characters to sway, more and more, until eventually they are flung off, and leave the stage, while the Ariels float the cloth up like a roof. A very good evocation of the storm and shipwreck.

The dialogue starts with Miranda’s plea to Prospero to calm the storm, followed by his explanation (long overdue, it would seem) of their arrival at the island. Prospero has pictures which he gives Miranda to look at, of his disloyal brother, the King of Naples, and the good Gonzalo, this time played by a woman. As he mentions each one, the characters come on stage so we can see who they are; as an audience member, I always find this a helpful device.

Caliban is an unhappy creature, chained up when first we see him. He certainly doesn’t pay much attention to personal hygiene, but given the circumstances, that’s understandable. He tends to lope around on all fours, very like Crab in Two Gentlemen of Verona. I usually feel sorry for him; personally I think Prospero’s a bit of a control freak who’s taken over the island without a by-your-leave, and Caliban had every right to at least make a pass at Miranda, but I may be in the minority here.

Anyway, Prospero introduces Miranda to Ferdinand, achieves the desired result, and then we rattle through the attempts to cheer up the King, and the potential coup. I felt a lot of the humour was lost here, although some supporters behind us were doing their best to add a laughter track at every opportunity. (The giveaway was the laugh coming before anything funny had happened on stage.) But we do get a good sense of the King mourning for his son, believed dead. Meantime, Miranda and Ferdinand agree to marry, and after this we meet Trinculo and Stefano. Their business is so curtailed that it’s hard to make anything much of them. However, Trinculo is also played by a woman, and she gives the character all the trembling cowardice it needs, though the drunken scenes are weaker.

From here, it’s all straightforward to reconciliation, and a happy ending, finishing with Prospero’s ‘farewell’ to the spirits – no epilogue. I don’t think this play condensed as well as the others – I missed more than with the other YPS productions. But there were some good performances, and I dare say the children will enjoy this one – it’s very visual.

© 2006 Sheila Evans at ilovetheatre.me

The Rape Of Lucrece – September 2006

Experience: 7/10

By William Shakespeare

Directed by Gregory Doran

Venue: Swan Theatre

Date: Sunday 10th September 2006

Now for rape, suicide, and the end of a monarchy. This was an excellent reading of the poem, suitably edited to keep the running time down. Again, it was so warm I was finding it hard to concentrate at times, but the performances were very effective, especially when Jane Lapotaire was taking us through Lucrece’s sufferings – despite being raped, that woman had the stamina and the vocabulary to outlast Patience! We just got the edited highlights, thankfully.

Basic plot. Tarquin’s son rapes Lucrece, after a (relatively) short pause to consider the merits or otherwise of his actions. No contest – lust wins again. She’s in despair, and lets us know all about it, railing against time, opportunity, her husband, etc. before considering a painting of the Trojan War (as you do). She has the wit to send for her husband, and meeting him on her return, appears to have run out of words. After briefly explaining that the King’s son has raped her (serious editing here), she stabs herself, under the horrible delusion that somehow she’s damaged goods and the stain on her character cannot be removed. Personally, I prefer the version of red Riding Hood where the little girl, on encountering a grandma with long snout, long ears and big teeth, takes a gun out of her basket and shoots the wolf (James Thurber, I think). Woman power. Then we have Lucrece’s father and husband wrangling over whose loss is the greater (shades of Laertes and Hamlet). Will no one call an ambulance? (OK, the poet thinks she’s dead, but what does he know? A good doctor, a fully equipped ER, and she might recover!) Fortunately Brutus (ancestor of the Caesar-slayer) is on hand to knock some sense into them. So, off they go to overthrow the political structure of Rome. Yes, it is a bit of a jump, but if you know your Roman history, it makes perfect sense (thank you Mr Parks, my second year Latin teacher).

Several curtain calls (what do you call these when there’s no curtain?), which often seems to take actors by surprise. Did they think we’d gone home? Snuck out while they weren’t looking, or were they too engrossed in their part to notice? I suppose this isn’t a promising subject for rapturous applause, but then you’re not likely to get much passing trade at this sort of thing – only your hard-core Shakespeare fans, desperate to catch a glimpse of this rarely sighted beast.

One final point – the actors had been standing for so long, they actually found it difficult to take their bow; perhaps that explains the response to the applause – they couldn’t wait to get off the stage!

© 2006 Sheila Evans at ilovetheatre.me

Troilus And Cressida – September 2006

Experience: 8/10

By William Shakespeare

Directed by Peter Stein

Company: Edinburgh InternationalFestival in association with the RSC

Venue: RST

Date: Saturday 9th September 2006

This was the clearest production of this play I have ever seen, which is partly why I enjoyed it so much. I could tell who all the characters were, the pace of the dialogue was slowed to match the pace of the scene changes, so I could hear almost every word, and the performances themselves were excellent.

Some scene changes were a bit too slow, especially the final change, moving the big wall forward and then tilting it to create a massive ramp on which all the fighting could take place. Having said that, I liked all the set designs, and enjoyed the use of the wall, so I’ll excuse the time it took to move it. The only thing that didn’t work for me – nearly made me laugh out loud – was the two tents (half tents, as it turned out), floating across the stage to join together as Cressida’s new home – a sort of camping ballet. It didn’t help that we could clearly see the scene changers working really hard to keep them on course. If they could have tightened up on this, and speeded up the mechanical bits, the whole play would have been quicker. But as I said, the tempo of the play was set by these changes, and it was good that there were no awkward changes of pace – just a good steady walk rather than a canter.

The only down side was that some of the staging didn’t use the RST stage very well. For most of the first half, the action took place not on the thrust, not even in front of the arch, but in the middle or rear of the stage. In an auditorium like this, that’s normally dramatic suicide, but this production just managed to get away with it. Several of the actors had done seasons here before, and obviously knew the problems, as they were noticeably better at projecting than the others. Even so, the change in volume and energy was evident on those few occasions when actors came further forward and inhabited the foreground of the stage. As Achilles’ and Ajax’s tents were on either side of the thrust, the Greeks tended to be further forward anyway, and for most of the second half the position was reversed, with most of the action taking place near the front.

Despite this, I enjoyed the production enormously. I could make out so much more, and in seeing the characters and their relationships more clearly, I found a lot of new ideas and awarenesses buzzing through my brain – just what I like when watching Shakespeare.

This production makes it abundantly clear that the play is about “war and lechery”. The men’s costumes were obligingly skimpy, which was no hardship, and for once Troilus didn’t spring from the lovers’ bed partially dressed (yum). Helen and Paris had a longer romp in their suspended bed than was strictly necessary to set the scene, and Pandarus’ arrival didn’t slow them down all that much. When Troilus and Cressida finally get together, without having exchanged a word beforehand, Pandarus is urging them to get to the sex straightaway – no conversation, no getting to know each other, just snogging and fucking. As an early attempt at a dating agency, Pandarus sucks. He obviously took this approach to his own relationships as well, because by the end of the play he’s riddled with all the diseases that sex can provide.

Anyway, the young lovers’ relationship doesn’t last because Cressida is swapped for Antenor. This is an obstacle few lovers would overcome. Romeo and Juliet had it easy by comparison (and I saw a lot of Romeo and Juliet in this romance, too, especially in Cressida’s concern about expressing her love too soon and too openly, just as Juliet regrets that Romeo has overheard her declaration of love). I noticed that Troilus, even though he’s not happy to lose her to the Greeks, doesn’t kick up much of a fuss with his father about the exchange. This is the boy who was effectively pleading Paris’ case earlier, when Priam was consulting his sons over what to do with Helen. Then, he was all for keeping Helen, for honour’s sake. I ask myself, if he really loved Cressida, wouldn’t he have put up more of a fight? Re-reading his arguments to Priam, many of the lines could be applied equally well to his relationship with Cressida – “O theft most base, that we have stolen what we do fear to keep!” If he prizes Antenor more highly than Cressida, so much for staying faithful.

Cressida was excellently performed. It’s a difficult part, as it’s not clear why she appears to transfer her affections to Diomedes. Is she just being pragmatic? Has she actually realised that there are other men in the world? Is she just in despair and turning to whoever shows her kindness or seems to want her? As I saw it, this production has the courage to show her as a woman who doesn’t stay faithful to one man. It happens. Get over it. There’s so much emphasis on romantic love in Shakespeare (and his contemporaries) (and earlier writers) (and later writers, come to that) that it’s a relief that one of them has finally come out of the closet and just shown what can happen between men and women.

Troilus reminded me so much of Romeo, going off in a tantrum because he can’t have the Cressida of his imaginings – true, faithful, pure, chaste. It’s debatable whether he actually stays faithful or not. He’s certainly out of love with her in this production – in the closing scene, Pandarus brings Cressida on stage to offer her to Troilus and he rejects her. She stumbles off, Troilus is killed immediately afterwards, leaving Pandarus to speak the closing lines. The introduction of Cressida at this point is an invention, not found in any edition I looked at, but it does make a good point.

I saw the connections between Thersites and Pandarus too. Pandarus is Thersites in the making (if he lives long enough). Both were well played. I’ve never seen a ‘cuddly’ Thersites, but even so, this one was more repellent than most. His commentaries on the action were apt and intelligible for once, even if they were a bit repetitive. Pandarus was wonderfully lecherous and voyeuristic – getting (almost) as much pleasure from his niece’s sexual initiation as if he’d done it himself, a strange counterpoint to the nurse in Romeo and Juliet. In fact, it occurred to me that Troilus and Cressida is Romeo and Juliet’s negative image – they start together with family support, then end up on opposite sides of a warring divide.

A few more points. The helmets the Trojans wore muffled their speech a bit. Menelaus was nicely bumbling – the mandatory cuckold. I really liked the procession of men with Pandarus identifying them for Cressida (and us). I liked the way they posed – Hector very manly – and the way Pandarus mistakes Troilus, who’s dragging himself along. Although this was funny, I wasn’t keen overall on making Troilus so wimpish. OK, he’s in love, but he sometimes comes across as an ineffectual boy, not the strong warrior he appears to be from other reports. Also his words are given weight during the Helen debate, so he’s obviously not just a wimp.

Finally, this production gave full weight to the warfare elements, so for once the title characters almost take a back seat.

© 2006 Sheila Evans at ilovetheatre.me

King John – September 2006

Experience: 3/10

By William Shakespeare

Directed by Josie Rourke

Venue: Swan Theatre

Date: Saturday 9th September 2006

I found a lot of this terribly dreary, and could hardly keep my eyes open. The Swan felt very stuffy and I longed for a breath of air. The repetitive wordiness of the play just started to wash over me, and there wasn’t enough business and action to keep my attention. Like the bastard Philip, dubbed Sir Richard, I became frustrated that nothing was going on.

This was a disappointment, as much of the cast are also in Much Ado, which was excellent. This is not a criticism of the actors, as they were giving perfectly good performances – the production just didn’t have that sparkle about it. The bastard was definitely the best role, and Joseph Millson got a good deal of the humour out of the part. In fact, I thought there was more humour in his performance, if only the audience would have appreciated it better. Maybe it wasn’t so much a leaden production as a leaden audience. But I have seen it done better, especially the Cardinal. It’s as if the cast haven’t yet found out what a good play it can be.

Good points? The bastard, desperate for a fight, constantly being frustrated by all the peace treaties that get agreed! His comments on the “wooing” between Blanche and the Dauphin were entertaining. Blanche was good – it’s a small part, but she made her presence felt. As she was talking about her divided loyalties pulling her in two different directions, Eleanor and the Dauphin were actually holding a hand each – a human tug-o-war.

Not so good points: Constance’s grief at losing her son did go on a bit.

© 2006 Sheila Evans at ilovetheatre.me

Much Ado About Nothing – September 2006

Experience: 10/10

By William Shakespeare

Directed by Marianne Elliot

Venue: Swan Theatre

Date: Friday 8th September 2006

For the first half, I felt this was the best ever production of anything I’d ever seen, anywhere. I was going to revise my star ratings to give this eleven! Then the second half opened with Dogberry, and the soufflé collapsed. To be fair, this was one of the better Dogberry’s I’ve seen, so it didn’t collapse far, and I would still recommend everybody on the planet to see this production at least sixteen times before they die.

To start with, all the dialogue was delivered so clearly, and with such good understanding of what was being said, that I understood the play far better than I ever have before, and I got all of the jokes, which is no mean feat. The setting worked brilliantly. Pre-Castro Cuba, with lots of heat, bars and cigars, the air was steamy long before the lovers got going. We were entertained to some Latin-American music from the band before the start, and there was plenty more during the show as well.

I can’t possibly note up everything that happened, so here’s a jumble of thoughts and memories. Benedick as a moving pot plant – totally over the top and brilliantly done. We laughed so much at this, that the following eavesdropping scene, with Beatrice, felt a bit flatter, but Beatrice managed to go one better than Benedick and actually creep right up to the bench that Ursula was sitting on. Ursula even put her hand, accidentally, on Beatrice’s, and had to pretend not to notice. Before that, we had a slightly predictable joke when Beatrice moved next to the Vespa parked on stage, and naturally set off the horn. Little bit obvious, but still enjoyable. My favourite part was at the beginning of that scene, when Beatrice enters from the side, and runs along the front of row A to hide at the back, hopefully not treading on anyone’s toes.

Benedick winking at the Duke to get him to insist on Benedick revealing all about Claudio. Borachio’s interest in Hero, causing his jealousy and hence the assistance he gives to Don John. Borachio actually spends time with Hero, which we don’t see Claudio do till after the Duke’s done the deal.

The tempo eases down in the second half, partly because Dogberry is played at a slow pace, and partly because the story gets a lot darker. I realised that what brings Beatrice and Benedick together in this section is the seriousness of what happens to the people they care about – they’re not able to joke about this stuff, and so they’re able to express their truer feelings about each other as well. Once the problems are resolved, they’re back to sniping at each other again, but too late to deny their feelings.

The crunchy floor isn’t particularly noisy in this production – must be the soles of their shoes. Still sticks to everything, though.

Dogberry was OK, making him better than most I’ve seen. I even found some of his jokes funny. Verges we were already familiar with from a couple of seasons at Chichester, and I enjoyed what there was of the part. The watch were good, hiding out amongst the audience to overhear Borachio and Conrad, but on the whole I preferred the YPS watch – they made much more of them, although it was a shorter version.

The second half was more moving. I always feel for Hero in her suffering after the false accusation. This time, Margaret, realising what she’s been involved in, runs from the church, really upset. They made a lot of some pearls which Claudio gives Hero, and to my mind, Hero was just a bit too interested in them rather than the man. Not sure this is going to be a happy marriage for Claudio (but then, does he deserve one?)

Masks for the first ball – the Prince has a lion mask, Benedick a monkey, and Claudio a clown, all very appropriate.

One quibble about the scene with Benedick in his floral shirt – it’s clear he’s changed, and shaved his beard, so perhaps the Prince could have played it up as a bit more of a joke – there’s no ‘discovery’ of the changes, so no need to play it straight.

Wonderful use of a megaphone to bid Benedick “come in to supper”, especially as Beatrice is standing about a foot in front of him at the time. His reaction to this summons was wonderful too – his conviction that there’s a double meaning in her words was beautifully insane and another one of the many funny moments in this production.

© 2006 Sheila Evans at ilovetheatre.me

Richard III – YPS – September 2006

Experience: 3/10

By William Shakespeare

Directed by Jennie Buckman

Company: RADA

Venue: Swan Theatre

Date: Friday 8th September 2006

They were performing on the set for the RSC’s Much Ado About Nothing – a Cuban bar – with a pole, light bulbs strung round the place and bits of broken up tarmac on the stage. This made for lots of crunching sounds as people walked, danced, etc., and left lots of bits on costumes. At times, given how much Richard was leaping about, it was like a crunchy soft shoe shuffle. Very unfortunate. The RADA set itself was a simple white sheet, hung over the back balcony, and used for silhouettes, projection, and with a slit for a doorway. Very effective.

The costumes were very retro. Doublet and hose for the men, period dress for the women. While it’s nice to see lots of lean and muscular masculine legs, there was no benefit in choosing this style. It didn’t add to the production. There were some costume changes, because of the doubling.

Overall, this production needed better editing of the text. The already excessive one hour twenty-five minutes overran by 15 minutes – a long time to expect young kids to sit still on a gym floor. I was toiling towards the end, because of the long drive up. The opening was strangely drawn-out, and for me it added nothing to the production. For about five minutes before the start, there were two couples standing in the front corners, chatting quietly to each other – whispering sweet nothings, judging by the actions. A couple of servants appeared at the curtain, and shortly afterwards the house lights went down. The King came through the curtain, with the Queen, and the three couples began a dance. While this was going on, Richard of Gloucester crept slowly onto the stage, finally launching into one of the most famous opening lines of all time. At least he could indicate the King when talking about “this sun/son of York”. And we were shown, in mime, the initial stages of Clarence’s arrest. Otherwise a slow way to start a play that already has time problems.

From there we jump straight into Richard’s hyper performance – waving his arms around like he’s trying to use semaphore as well as speak the part, striding the length and breadth of the stage just to show us his legs do work. This was definitely over the top, and I wondered at the time if such a young actor would be able to handle the demands of this role.

Fortunately, the next scene we get is Anne escorting King Henry VI’s body to church. Despite her early attempts to outdo Richard in the histrionics department, this gradually settled down into a nice exchange between these characters, Richard displaying his brass neck to full advantage, and Anne managing to find it in her heart to call a truce, if not forgive entirely. I don’t know if this is a really tricky scene to do, or if it’s so well written it’s almost infallible, but at least the performances were shaping up.

Other good points: the servants we see at the start turn into the two murderers, both excellent performances. First murderer, Forest, is played with a Welsh accent, and displays a perfectionist’s commitment to the important task of bumping off a member of the royal family. He lays out his bundle of implements carefully, checks them all, and then puts on his apron and large red rubber gloves with precision. All this business takes him right through the dialogue, so he’s ready for action when Clarence wakes up. The second murderer, Dighton, is much more panicky, but recovers himself as quick as you like once Forest reminds him of the money involved. Clarence himself was very good in this scene. Without the preamble of his fatal dream, he has to start from scratch, and manages to express greater panic in pleading for his life than I’ve seen before. Here, it worked.

I liked the use of silhouettes to show Richard at prayer with the monks, and also the bribing of the audience to shout “Long live Richard, England’s worthy King”. Sadly, the money was fake, so being typical peasants, we refused to do anything for it, but Richard was still offered the crown anyway. While they might have edited out the dream scene before the battle, I did like they way the ghosts spoke their lines all together – not only saving time, but emphasising the sheer number of people Richard had both pissed off and bumped off during his villainous career. One slightly naughty tweak to the text gave the young king, Edward V, a play on words that allowed Richard and Buckingham to laugh sycophantically. “Fie! what a slug is Hastings, that he makes not haste to tell us…” instead of the “comes” in my edition. Still a good laugh, so I’m not complaining.

Not so good points: they could have cut a lot more of the play, especially much of the women’s wailing and cursing, the pre-battle dream sequence, and the opening dance. It was a difficult piece to choose from an editing point of view. I don’t know if they were given a free hand, or a shortlist, or what. The action is all very well, but the heart of the play is the nature of Richard’s villainy and its outcomes, and that didn’t come across so well in this version. The humour was fine, but it didn’t satisfy me.

© 2006 Sheila Evans at ilovetheatre.me

Much Ado About Nothing – YPS – September 2006

Experience: 8/10

By William Shakespeare

Directed by John Hartoch

Company: Bristol Old Vic Theatre School

Venue: Swan Theatre

Date: Tuesday 5th September 2006

This was excellent. But for the severe truncation of the play, it would have been a 10/10 performance. I was amazed to find these actors had completed only the first year of a two-year course – several looked so accomplished I would have thought they were already professionals.

Although this telling was succinct, there was time to cover all the high points of the full version, and to include some original business as well. At the beginning, two soldiers march a surly-looking fellow (Don John?) onto stage. Leaving him in the middle, they march to one side and prepare to fire. Another man appears (the Prince?), and gives the signal to shoot. The guns fire, and streamers shoot out – it’s a joke! Not that the chap being shot at enjoys it much.

Then the regular plot starts, with Leonato telling his daughter and niece of the Prince’s return. I was delighted with this Beatrice (Emma Clifford). She nailed Beatrice’s character beautifully – full of chiding without any real malice, but unable to hold her tongue for long. Michelle Lukes was as lively a Hero as I’ve seen, registering a lot more of the character’s emotions, especially during her repudiation at the church. Adam Thomas gave a good performance as Leonato. An older student, he had the advantage of his own years to convey Leonato’s, and he carried the part well, doing a good impression of a bumbling amateur during the deception of Benedick.

When the men arrive, we confirm that the characters in the initial mime were indeed the Prince and Don John. Oliver Millingham plays the Prince as a lively man, fond of practical jokes and arranging other people’s lives for them. Claudio (David Oakes) is tall, handsome and full of nobility and courage, while Benedick (Peter Basham) is a robust type, older than Claudio, and with a healthy dislike of marriage. He pines to “see a bachelor of three score again.” His sparring with and wooing of Beatrice were lively and entertaining, and he moved into the more sombre scenes smoothly and convincingly. His was one of the best performances in a good all-round cast.

Don John was a credible villain, sulking even more after his humiliation at the fake firing squad. Neil Jennings doubled this part with the second watchman, which gave him a chance to show a lighter touch in a comedic role. Another of the best performances came from Nick Whitley as Borachio. He slipped onto stage during the Prince’s promise to woo for Claudio, and seeing what was going on, hid himself behind the curtain to overhear. After they left, he strolled onto the stage, bottle in hand, to let us know his intentions. Nick looked very assured and gave plenty to this small, but important, supporting role. Don John’s other servant, Conrad, was played by Paul Jellis, who also played the friar. Conrad was fine, and I liked the friar, especially when he settled up with the Prince once Benedick agrees to marry.

The parts of Hero and Margaret were being alternated, and today Margaret was played by Notzarina Reevers, doubling with first watchman. Both of these were good performances. Margaret had her flounces from time to time, but she was still the loyal maid enjoying her part in snaring Beatrice for Benedick. First and second watchmen were a great double act, as first watchman had to assert her authority and retain her pike (they only had one between them!). She did this easily, and took to swinging it around in a dangerous manner, as when Dogberry is questioning Conrad and Borachio. Good fun.

So to Dogberry (David Edenfield) and Verges (Matt Barber, doubling as Messenger). Dogberry is such a difficult part to do nowadays, and I’ve rarely enjoyed it. This part was naturally cut right down, yet the character came across just fine, and the climactic “O that I had been writ down an ass!” was very funny. One of the few parts that benefited from the cuts. Verges and Messenger were small parts, and well done, though without much scope for catching the eye.

The set was very simple, as they have to be. Apparently they must be able to be set up and taken down in ten minutes. A curtain formed of four parts hung at the back of the thrust, with words from the play writ large across it. Underneath these were printed dictionary definitions of some of the words, e.g. love, honour, scorn, folly, etc. Two boxes covered in cloth stood towards either side of the curtain, with individual words on each side, echoing the curtain’s decoration. These boxes were moved forward, singly or together, to form seats, tables, plant pots, etc., and other props were added as needed; chairs, trees, altar cloth, and so on. Live music came mostly from behind the curtain, and sometimes on stage or from the sides. They’re a talented bunch, these actors, as they played all the instruments themselves.

The costumes picked up the general theme, as most of the outfits had a word or two painted on them. The Duke had both “Love” and “Scorn” on his trouser legs, Claudio had “Noble”, Benedick had “Sport” and Beatrice had “Scorn” across her stomach. The Prince was in off-white, Leonato in grey, and Don John in black. Because it was so short, there were no costume changes, so Hero had to start off in her wedding dress (white, drop-waisted, with a voile skirt), while Beatrice was wearing bright red, and Margaret wore a fetching blue number. The watch had pudding basin helmets.

One obvious difference from yesterday was the power of delivery. These guys could really fill the space, vocally. I heard virtually every word clearly, and they obviously knew what their characters were saying as well. There were a few problems with sightlines being blocked, but that’s a natural hazard in this space. All in all, this was an amazing production.

Some of the business has already been covered. The scene where the Prince, Claudio and Leonato convince Benedick of Beatrice’s love was a masterpiece. With Benedick lurking behind the curtain, though not completely out of sight, the Prince dishes out the ‘parts’ to the other players. Leonato, an enthusiastic amateur, manages to drop too many of his pages, and there’s a lovely moment of panic as all three scramble to find his lines. As the Prince and Claudio walk and talk, Claudio’s sword accidentally pulls back the curtain, threatening to reveal Benedick, who has to grab it to stay concealed. This amuses the others so much, they make another pass by the curtain to repeat the trick. Frankly, they were laughing so much that it nearly made Benedick a liar when he says their conference was “sadly borne”.

Finally, to tie the production up, the introductory scene was repeated – Don John was led onto stage, the firing squad prepared to shoot, the Prince raised his hand to give the signal – and then the lights went out, leaving us with a lovely, ambiguous ending. We all loved it so much we applauded past the house lights going up, so they took their final curtain call in semi gloom. Great fun, and I hope they all do well in their future careers.

© 2006 Sheila Evans at ilovetheatre.me

All’s Well That Ends Well – YPS – September 2006

Experience: 6/10

By William Shakespeare

Directed by Gavin Marshall

Company: Royal Scottish Academy of Music and Drama

Venue: Swan Theatre

Date: Monday 4th September 2006

This was the first Young People’s Shakespeare that we’d seen. Apparently they’re strictly limited to 75 minutes per performance, so the text has to be drastically reduced. This was (possibly) the first time these had been performed by acting students – normally fully fledged RSC actors do these productions.

The remaining text for this play focused intensely on the main characters. Ten performers covered all the parts. This made several things very clear. Firstly, I understood for the first time the importance of showing up Parolles as the fool and coward he is. Bertram’s judgement is so poor, as it is in rejecting Helena, that he needs a wake-up call. Secondly, I could see more clearly how determined Helena is to earn Bertram’s love – it’s a quest story, though as usual Shakespeare has turned it upside down by having the woman seek the man – very Women’s Lib.

Finally, seeing the truncated version made me appreciate Will’s talent even more. Not only can cut-down versions of his plays be very enjoyable, but I have greater insight into how important the ‘non-essential’ parts are. They don’t just pad things out, they contribute a lot to the characterisation, they allow the audience time to absorb what they’ve seen, catch up with the plot from their neighbours, and keep the rabble amused. The short version is fine, and I can still enjoy the longer version, too.

Full scale productions also have the advantage of more people on stage, which gives more opportunities for fun. I’m thinking particularly of the scene at the end where the King, not having learned his lesson, promises Diana her choice of husband from among his noblemen. When you have a dozen or so spare nobles pottering about on stage, there’s a lot more to be made of their reactions – here it just whizzed by without comment.

This production started with a song, a kind of wailing, which we came to realise was a mourning dirge for the recently deceased Count of Rousillion. The actors processed from the side to form up in two lines on the stage, women to the left, men to the right, with a priest figure in front, ringing a bell. The singing wasn’t too bad, though I felt they were trying to be overly ambitious with the harmonies, given the few singers available. Either that, or they were just a bit shaky in this department.

After the funeral, Bertram takes his leave, and we get our first insight into Helena’s wit, as she spars with Parolles, Bertram’s follower. The story rattles through – the King welcomes Bertram, the Countess discovers Helena’s affections and supports her in going to the King to see if she can cure him, bearing in mind her double reason for going. She cures the King, claims Bertram and so begins the long chain of unhappy events. Bertram quits the court, to go off to the wars (has the man gone mad? or does this just show how much he loathes his new wife?). Helena, having returned to Rousillion, sneaks off after him, leaving the Countess to inform the world that she has died. In Italy, she encounters the very women who can help her to win Bertram – just how lucky can one girl get? The widow with whom she lodges has a daughter, Diana, who has caught Bertram’s eye. Now the widow makes out that Diana’s virtuous, but it seems to be a bargaining tool, because from Diana’s behaviour it’s obvious she fancies a bit of nobleman herself, and it’s only her mother’s advice to fend them off till the marriage is sealed that’s kept her pure! Anyway, they agree to help Helena, and Bertram’s fate is sealed – he can’t outwit one woman, what chance does he have against three?

Parolles is also up against it when he’s kidnapped by his own team, and soon reveals all in front of Bertram, fresh from his tryst with Diana/Helena. Back at the French Court, the three women confront Bertram and all is, hopefully, made good.

With such a shortened script, there was very little time to play around. Parolles’ part probably suffered most, as it usually relies on business and a fancy costume to get across the humour, and much of that was cut out. But there were some lovely pieces of staging.

Firstly, there was a nice touch during the opening funeral scene. Simple hand gestures indicated dirt being thrown onto the coffin. The stage was almost bare – only six stools positioned at the back of the thrust, carrying a bell, a purple cushion, a crown and a drum. Actors took their places here often at the beginning of the previous scene, so the action was almost non-stop. Actors also stood there when a letter their character had written was being read out so they could say the words themselves.

A messenger arrives at one point, sits on the stage, and proceeds to take his shoe and sock off to tend to his sore foot. Parolles comes on, and tries to sneak a peek at the messenger’s bag, or at least nick his hip flask. No chance – this messenger has obviously encountered Parolles before, and he’s not letting anything out of his sight, eventually sitting on his bag to stop Parolles walking off with it.

The hip flask featured later, as the messenger, now playing a soldier, tries to chat up a woman in the audience, even offering her a swig, which she declined. As an officer looms up, the soldier hides the flask with her, but sadly the officer is wise to this, and he ends up losing both woman and flask.

The audience were also involved when Parolles is about to be tortured. As he tries to get away, he grabs the legs of someone in the front row, and has to be dragged off, screaming. He made a wonderful coward, yelling his head off when he thought he was about to be killed.

That’s about it. The costumes were plain and functional. Parolles had a red scarf to indicate his flashy dressing! Generally, there were weaknesses in delivery, with a lot of lines being lost, but overall it was well played and enjoyable.

© 2006 Sheila Evans at ilovetheatre.me

Two Gentlemen Of Verona – August 2006

Experience: 8/10

By William Shakespeare

Directed by Guti Fraga

Company: Nos Do Morro and Gallery37

Venue: Courtyard Theatre

Date: Sunday 27th August 2006

This was our first visit to the Courtyard Theatre, so I had put all my expectations to one side on two counts. Both the play and the venue turned out to be excellent.

First the theatre itself. This is a larger version of the Swan, much larger, and at first I wondered what sort of atmosphere there would be when there was so much space to fill. The flat, black stage reminded me of so many Swan productions, and there seemed to be the usual balconies and side entrances, although the centrepiece at the back may be part of the Henrys set. [Yes, it is.] The seats were the best I’ve ever sat in – tall back, well padded, plenty of room, including leg room. Although we were in the second row of the stalls, we could see well enough over the heads in front. The screen for the surtitles (a last minute decision to show these, apparently) was placed centrally, roughly halfway up the back construction thingummy. This made it much easier to follow the action and read the lines, although our view was blocked occasionally by the actors.

But who needs the English version when the performance is this good? The production was a joint venture between Nos Do Morro, a company in Brazil which gives young people training in theatre and performing arts, and Gallery37, a project based in Birmingham which is due to spread through the country, which again helps young people with difficult backgrounds. Most of the dialogue was spoken in Portuguese, and I didn’t care. I know the play well enough, and from the opening exchange between Valentine and Proteus the acting made the emotions clear. I am going to have to rethink my preference for hearing the English, as it just isn’t working out.

To start with, a group of about twenty-six young folk assembled on stage, faces straight, looking quite sombre, and packed into a square formation. All at once, they broke into music, dance and song, very lively. I have no idea what the song was about, but it was fun. To finish, they closed back up into the square and ‘switched off’. Then the play proper began. The actors used benches at the back to wait their turn, giving a lovely informal feel to the whole piece.

The opening scene between Valentine and Proteus was well acted. It was clear who was the lover and who the traveller. Behind the main action, within a ring of cloth on the floor, stood two other actors, miming to amplify the exchange between the two friends. Throughout the play, actors stood in for scenery, sometimes as chairs, sometimes as doors or walls. One time the spare actors stood in a line, with two of the women holding cloths diagonally to represent doors. This allowed the actors involved in the scene to burst through one set of doors, and, as the walls and doors flowed round ahead of them, through another set. Very effective.

Cloth was another main feature of the production. As well as cloths being used to mark out spaces, various characters wore ponchos, wrapped bits of cloth round themselves, and the letters and papers used in the play were all cloth. The love letter Julia receives from Proteus is made of cloth patches, loosely stitched together, so that she can rip it apart easily.

Probably the star of the show, if there could be one in such an even-handed production, was the dog, Crab. Often a scene-stealer, this particular dog was of the human variety. He was so mischievous, cocking his leg over the audience, having a crap on stage, and shagging one character’s leg pretty vigorously. Each time, he would end up looking quite innocent, tongue hanging out, head on one side. Marvellous fun.

The British participants were mainly involved in the forest scenes, as part of the outlaw band, so we heard the occasional line in English during these scenes. Mostly, though, it was an energetic, expressive version of the play, which got across all the characters and their relationships really well. It was all the more amazing because the two groups had only got together to work on the piece a few days before, and this was the only scheduled performance, so they had no time to bed it in.

After the enthusiastic applause, we were treated to a post-show discussion with all of the cast and the director Guti Fraga, who founded Nos do Morro. This was basically a giant love-in, as all the actors were still pumped up after their excellent performance, and it obviously meant so much to them to have been so well received. Cicely Berry also joined them, and she is clearly much loved by all in both groups. I don’t remember much of what was said – a lot of the information is in the programme notes, anyway – but there was a lovely sense of camaraderie, of the depth of loving and support amongst the group, and the strength of Guti Fraga’s commitment to helping young people realise their potential in a region of the world that most of us would find challenging. It was a heart-warming experience, and I hope there will be more visits from companies such as this one, once the RSC has completed its redevelopment.

© 2006 Sheila Evans at ilovetheatre.me

Henry VIII – August 2006

Experience: 8/10

By William Shakespeare

Directed by Gregory Thompson

Company: AandBC

Venue: Holy Trinity Church

Date: Friday 25th August 2006

Only one snag with this production, otherwise it would have been a 10/10 at least – the performance space was so uncomfortable and made viewing the performance so difficult that I had to leave at the interval (the late interval), as my neck was already stiffening up, my back was complaining, my bum wasn’t too happy, and I’d missed about half of the dialogue! This was the kind of production that makes you wonder why a play isn’t done more often – what I could see and hear of it was mostly clear, brilliantly performed and very entertaining. I hope they bring it to a proper theatre near us soon!

I particularly enjoyed Antony O’Donnell’s performance as Wolsey – a masterpiece of cunning, conniving, and political manipulation – he could give lessons to the current generation of spin doctors. Special mention also to Corinne Jaber as Queen Katherine, superbly regal and passionate. Anne Boleyn was interesting – although it’s assumed the play is flattering Elizabeth I, as it ends with her baptism, her mother is shown here to be only interested in power and wealth – just how flattering would that have been? All the other parts were great, and despite the discomfort, I found the closeness to the action, and inclusion of the audience in a lot of it, was great fun. I gather the old adage was demonstrated again – never work with children… According to Steve, the baby performing this night was adorable, and few people noticed what the actors were doing during the baptism scene as all eyes were on her at the end.

© 2006 Sheila Evans at ilovetheatre.me