King Lear – March 2014

Experience: 7/10

By William Shakespeare

Directed by Sam Mendes

Venue: Olivier Theatre

Date: Sunday 2nd March 2014

I was a little disappointed with this production today. I felt the concept didn’t quite work with this play, although there were some very good performances and one excellent piece of editing. The concept also meant I had no sympathy with Lear, thus no emotional engagement with him, and that’s a pretty big hole in the centre of the play.

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As You Like It – June 2010


By William Shakespeare

Directed by Sam Mendes

Company: Old Vic Bridge Project

Venue: Old Vic

Date: Wednesday 30th June 2010

This was a bizarre mixture. The Bridge Project brings together British and American actors for joint productions – this year’s offerings are As You Like It and The Tempest – but we expected they would rehearse in one group. Today’s effort looked liked they’d rehearsed separately, and were still trying to figure out how to put the two halves together. For the most part, the Brits were good, with clear delivery of lines and some animation to their performances. For the most part, the U.S. team were OK, despite noticeably weaker delivery, but with Christian Camargo as Orlando the standard of performance nose-dived. His delivery never rose above the mechanical, his demeanour was lacklustre, his expression deeply depressed, and I even wondered if he was on some form of medication, he seemed so out of it. This obvious weakness brought the whole production down, and it was all the worse for us because Edward Bennett was in the cast, playing Oliver, the younger-looking older brother to Orlando – ‘unless the master were the man.’ One quick cast change would improve this production enormously; as it is, the better performances saved it from a miserable 2/10 rating, and judging by the empty seats which appeared after the interval, we weren’t the only ones suffering. I did nod off a bit in the second half, but according to Steve, I didn’t miss much.

The set was pretty good, though. The stage had been brought forward again, and there were exits through the first boxes on either side, as well as stairs at the front left of the stage. A couple of tall skinny tree trunks sat one on either side of the forestage, and there were stacks of chopped wood nestling in each of the boxes. A long garden bench sat further back on the left for the opening scenes, and during the play all sorts of furniture, carts, etc. were whisked on and off, so efficiently that I really didn’t notice them.

For the opening scenes, there was a full length wooden wall not far behind the bench, with a door in the centre. Once into the forest, this wall rose up and exposed the rest of the stage, with lots more tree trunks and a ramp up to the central exit at the back. In the summer, the undergrowth was rampant, and there were plenty of locations for an ardent romantic poet to stick his oeuvre. The costumes were modern.

Last year there were lots of interesting aspects to the productions; this time I found little to excite me, but there was one gem nestling amongst the straw. When Touchstone was describing the seven degrees of quarrelling, he involved the Duke and Jacques, encouraging them to act out the various stages. When he came to the end and made the reference to a quarrel being patched up with an ‘if’, he looked meaningfully at the Duke. I caught the reference to the two men being ‘sworn brothers’ afterwards, and at first I thought the Duke’s reaction was his recollection of how his own brother had treated him. But then his words to Touchstone were accompanied by a gesture, touching his nose I think, which made me realise that Touchstone had been referring to something in the past between the Duke and his brother. We enjoyed that idea very much.

I wasn’t so taken with Jacques imitating Bob Dylan for his verse of the first song in the forest. It was a good enough impression, especially with the mouth organ, but it distorted the words so that I couldn’t hear the ‘Ducdame’ line. Since I know the play well enough I still got the humour of Jacques’ next line, but it was weakened for me.

Touchstone was pretty good, Audrey, Phoebe and their swains were fine (William headbutted Touchstone, good for him), Celia was OK, and LeBeau was fine if a bit too affected with his very slow delivery. Antony O’Donnell was fine as Corin, and Michael Williams as both Dukes did very well. I liked the changeover, although it took a little time. Duke baddie discovered his daughter’s flight at court, standing in a square of light. The scene ended, the wall rose, and the Duke and his men walked back to where some boxes sat, took out the extra clothes they needed and put them on, while the boxes were repositioned for the next scene. It worked quite well, and at least we were clear that the same actor was playing two parts.

Charles was the skinniest wrestler I’ve ever seen, not much bigger than Orlando. The fight scene was played out under a swinging light, à la Callan, which made it harder to see what was going on. Perhaps they weren’t confident in the fight director, as the little I could make out wasn’t very convincing.

I’ve already put the boot into Orlando, so that just leaves Juliet Rylance as Rosalind. It sounds like faint praise to say she was fine, but with such a limp Orlando I don’t know that she could have done any better. I did like the way she ran the lines together into unintelligibilty when questioning Celia about Orlando – it got the point across even better than clear enunciation of every word. She’s certainly a good actress to make us believe Rosalind was actually in love with the big lump. Better luck next time.

© 2010 Sheila Evans at

The Cherry Orchard – July 2009


By Anton Chekov, translated by Tom Stoppard

Directed by Sam Mendes

Company: Old Vic Bridge Project

Venue: Old Vic Theatre

Date: Wednesday 1st July 2009

As we arrived today, I remembered that the same line was shown on the screen at the back for The Winter’s Tale – “O, call back yesterday, bid time return” [Richard II, Act 3 Scene 2]. The platform was the same, again a nursery with a child’s bed, back right this time. The furniture was much smaller this time. Two oil/gas lamps hung from the ceiling. For the second act, the furniture was cleared and cushions were strewn around. After the interval, for the party scene there were two central round tables, one on each side as it were, and another table front right. They all had lots of bottles and other party debris on them. A cordon of simple chairs completed the setting. For the final leave-taking there were the usual piles of luggage and a few remaining nursery chairs, just to remind us where we were.

We were both a little disappointed with this production, after the glories of The Winter’s Tale. While the performances were all good, none seemed outstanding, and they just didn’t involve either of us emotionally. As a result, I found myself getting quite bored during some parts, although I must admit there were also a number of good laughs to be had. This version didn’t mention that Varya was adopted, as far as I could tell, so her situation didn’t come across so clearly, and her relationship with Lopakhin was confusing as well. I reckoned Lopakhin was simply in love with Ranevskaya and not really interested in Varya at all, but the final conversation between them, where he fails to propose, suggested otherwise. He got down on his knees, held Varya’s hand, and then came out with some banal remark about the weather. Very funny, but without tearing at the heartstrings as this scene can do. He also stood behind her and appeared to stroke her hair, indicating some strong emotional attachment to her, but for me it came out of the blue.

The final scene, with Firs all alone in a locked up house, started to be moving, but the symbolic music, with the chopping and the cracking sounds (they’re meant to be there) somehow spoiled it for me. Frankly, my dear, I didn’t give a damn, and I was finding the seat pretty uncomfortable by this time as well.

Selina Cadell as Charlotta did her magic tricks very well, and I was aware when Lopakhin was exulting at having bought the estate where his father and grandfather had been serfs, that some aspects of this play may have stronger resonances for an American audience than for us. The American accents weren’t a problem but they didn’t help either, unlike The Winter’s Tale. So not my favourite production, then, but a hopeful start for the Bridge Project. We’ll look forward to their next offerings.

© 2009 Sheila Evans at

The Winter’s Tale – June 2009 (3)


By William Shakespeare

Directed by Sam Mendes

Company: Old Vic Bridge Project

Venue: Old Vic

Date: Wednesday 24th June 2009

This was a superb production, played on a thrust version of the Old Vic stage that was eerily reminiscent of the old RST. The set was plain, with a large square platform slightly raised above the rest of the stage and positioned well to the front, though with enough space for the actors to walk in front of it. The back and side walls were all done in floorboard style, as was the platform. For the opening scene, the platform held a child’s bed, complete with teddy bear, on the left hand side, some cushions with a bottle in the middle, and on the right a table and chairs, a fairly plain wooden set that could be found in many a kitchen today. I could only make out a chess set laid out for a new game, plus some glasses. There were many lamps hanging down at different levels towards the back, together with lots of candles on stands, and two large swings did duty as shelves for another swathe of candle lamps.

The platform was cleared quickly once it was no longer needed, and various tables and chairs were brought on as required. The candle lamps were blown out early on, while the lamps and candle stands kept going till we left Sicilia. That change was done rather well, I thought. The attendants lined up along the back wall, in relative gloom, and first the men, then  the women, blew out the nearest candle simultaneously, while the hanging lamps were gradually drawn up, as were the swings. This left the stage nicely bare for the Bohemia scenes, with the back wall lifting up to show us sky and clouds. The sheep shearing feast (and what idiots would shear their sheep in the autumn?) was a riot of balloons in red white and blue, while the return to Sicilia was given a wonderful mourning effect by the bare stage and just one long bench. For the statue scene, a small plinth was placed at the front of the platform, with an arc of chairs facing it and us. The bear, incidentally, was a ‘real’ bear rather than the paperback version, and did the job nicely. Costumes were some period or other, probably nineteenth century but don’t quote me, and I thought they worked very well; neither as austere nor as bucolic as the current RSC version.

So to the staging. Instead of the usual chit chat between Camillo and Archidamus, Mamillius came to the front of the stage, sat on the platform and using ‘his’ teddy bear, gave us the lines from a later scene about a sad tale being best for winter. I say ‘his’ because Mamillius was doubled with Perdita, both being played by Morven Christie, a doubling that we’ve seen before and which works very well. After this, we got the first line from Leontes, sitting on the bed with his pregnant wife beside him on the floor. Polixenes was sitting by the table, but moved over to recline on the cushions, where Hermione joined him as part of her persuasion strategy. Leontes had to help her up at first, but she was soon down again and lolling against Polixenes in a way that could be seen as overly friendly, if you’re half blind and inclined to think the worst of people. Leontes obviously falls into that category, but his suffering and his madness were clear to see. There was good use of lighting in this production, with asides spotlit and the background action either highlighted or dimmed.

After the initial part of this scene, Camillo and Archidamus had left, so there’s a much greater sense of the intimacy of this group at this point. With Hermione and Polixenes chivvied off stage, Leontes at first told his son to go and play, but then took him over to the bed, and with much tenderness caressed and kissed him. It’s here, in Mamillius’s bedroom where Leontes suborned Camillo to kill Polixenes. When Leontes started to shout at Camillo, Mamillius woke up, and had to be reassured back to sleep. Later, when Polixenes arrived, it was noticeable how quiet he was so as not to wake the sleeping prince.

We then got the scene of Hermione’s arrest. At first, all was going well, with Mamillius drawing or painting at the table, and bantering a little with the two waiting women. Hermione was on the bed, and then Leontes came in with a few courtiers and all hell broke loose. Mamillius was clearly upset and was taken away, while Hermione seemed unbelieving at first. Her attempt to reconnect with the man she knows and loves so well was touching to see, and spoke volumes about the closeness of their relationship previously. The impact of her being accused publicly was also apparent, having been set up by the earlier lack of courtiers. When she was taken off, the platform was cleared for Paulina’s entrance.

She arrived with a couple of suitcases (hers, or intended for Hermione, I wondered?) and the chat with Emilia was as usual. The next scene had Leontes, wrapped in a blanket, coming down to the front of the stage, clearly tortured by the situation. Polixenes and Hermione stood on either side of the stage at the front, motionless, the objects of his jealousy and hate.

When an attendant arrived to tell him about Mamillius, he actually brought the boy on stage in a wheelchair, looking very listless. I think he was wheeled off before Paulina comes on, but I’m not sure. Anyway, she did come on, wrapped in a shawl to disguise the bulky parcel she’s carrying. Not the most ferocious Paulina, perhaps, but certainly with plenty of authority, and the men were definitely not taking any chances with her. The comedy in this scene came across well, and Leontes was almost moved to compassion when he went over to pick up the little baby whom Paulina had left on a chair. This was the cuddliest Leontes I’ve ever seen, showing physical affection both for Mamillius and the baby, though sadly the outcome was the same. He sent Antigonus away with the baby, and then came the news that the oracle’s judgement has arrived. Leontes divested himself of his blanket and put on his jacket while the set was prepared for the trial scene, and in the meantime Cleomenes and Dion sit at the front of the stage talking about the wonders of their trip to Delphi.

Once they’d gone, the trial could begin. There was now a long table across the stage with three chairs, and there were four chairs to the left side of the platform where Hermione’s ladies sat after helping her on. She sat to the left and Leontes to the right of the table, with one of the other courtiers sitting in the middle as judge. He looked like he’d rather not have the job, to be honest, and there was a hint of trembling in his hand as he held the indictment and read it out. Hermione was in a drab shift, not fully recovered from childbirth though without the blood stains that often accompany this scene. She held her own pretty well, reading the first part of her speech from a tatty scrap of paper, while Leontes seemed fatigued and depressed rather than angry and vengeful for most of this scene. It was the judge’s nervousness and unhappiness that really conveyed the harshness of Leontes’ absolute authority.

When the oracle was called for, the judge used a sword for Cleomenes and Dion to swear on, and was clearly relieved to read out the good news of Hermione’s innocence. Unfortunately the king was determined to have a guilty verdict, and the inevitable happened. I liked the way this production allowed the actors to breathe and think instead of having to deliver their lines like a supermarket checkout person – so many per minute. When Leontes was talking with Paulina after she’s announced the death of his wife, he moved over to the table, and during his lines he paused briefly to pick up the piece of paper Hermione had with her during the trial. It was another touching moment, and another example of the layers of detail in the performance which made it such an enjoyable experience.

We were now off to Bohemia and the stage was cleared, with the back panel raised to show us a cloudy sky. Antigonus came onto this stage near the front and left the baby dead centre, speaking his lines to the audience. Which is why he didn’t see the big brown bear sneaking up on him from behind. As he got up to leave he turned and saw the bear, which reared up on his hind legs and …. blackout. The gory details were left to our imaginations. (Thankfully.) Then the old shepherd arrived, calling for his sheep, and set the tone for the comedy to come. The dialogue came across clearly, aided by Richard Easton (nice to see him again) providing some strong expressions to supplement the lines. Just before he headed off after the meeting with his son, he put the baby down and turned round to announce that he was taking on himself the role of time, a lovely way to segue the two scenes. He gave us the Time speech with both Florizel and Perdita standing at the back of the stage, so we would be prepared for who was who in the second half. Interval.

The second half began with Polixenes and Camillo, both older, having their little conversation, and the final line – “we must disguise ourselves” – got a good laugh. Then we met Autolycus for the first time. With the cast being split so that British accents were in Sicilia, and American ones in Bohemia, it was no surprise that Autolycus ws dressed like a hobo Bob Dylan, with a guitar which he used to accompany the songs he sings. I felt at the time it was  shame they hadn’t gone for some American country or folk songs instead of the regular Shakespeare stuff, as it’s even harder to get across the jokes with some of the songs than it is with the antiquated references in the dialogue. However. He sang and played well enough, and again the spoken lines came across more clearly than many another player’s.

With such a bare stage, the only place he could hide to avoid the young shepherd (I do wish Will had given the shepherds names) was below the back end of the platform. When he did emerge, it was with a large wooden cross which he proceeded to crucify himself on, only without the nasty business of the nails. This was good fun. He stole the shepherd’s wallet, as per usual, and after they went off to their various destinations, the stage was set up for a regular hoe-down. In addition to the balloons, there was a table laden with food, lots of chairs and a band, who struck up at every opportunity, including the ballads. The flowers were very nice, one of the women was nursing a small baby, and the two visitors were in the traditional long beards, hats and glasses. I thought they might have cut the satyrs dance, but we got a lively version of it here, with three men and three women adding balloons to their outfits to emphasis certain physical characteristics. Two of the women were Dorcas and Mopsa, the young shepherd’s jealous girlfriends, so there was some strategic balloon popping going on which left the young shepherd looking very deflated.

After Florizel’s attempt to marry Perdita had been broken up by his father revealing himself, the couple and Camillo went to the side of the stage to sit down and plot their escape. Meanwhile Autolycus came on, replete with purses, and was suitably happy to be in decent clothes again after the switch. He was a very casual courtier to the two shepherds, sitting in a chair, and it seemed plain that he once was at court and knows the manners instead of acting the total clown as some do. They reacted with terror to the news that they were to be killed, and were only too happy to ask for his help in approaching the king. And so we’re off to Sicilia at last.

The final act started with the bare stage and the bench, and when Leontes and Paulina arrived he was carrying a small bunch of flowers which he left centre front, as if laying them on Hermione’s grave. It was a lovely touch. Only one attendant was with them, and after the argument over the king’s remarriage was settled, the news of Florizel and Perdita’s arrival was brought, followed shortly by the people themselves. There was a moment of recognition from Leontes when he first sees Perdita – she was well cast to resemble Hermione – and I noticed that at the end of the scene, when Perdita was left with Paulina for a moment, Paulina got her first good look at the girl and her face also lit up as she recognised the similarity. I sniffled. I wasn’t sure if Paulina actually realised what the similarity meant, but it was a possibility.

The reporting of the reunions was well done, and then the bench was removed, the plinth brought on (placed over the flowers, I think), and Hermione’s ascent onto the pedestal was assisted by a group of attendants huddling in front of the plinth. She managed to stay pretty still, but it’s not easy for that length of time and so close to the audience. I liked this set up though, as it meant we got a good view of the other characters’ reactions to the statue. I sniffled a fair bit during this scene, as is only to be expected, and then with the reunions finally over we got to applaud good and hard for such a wonderful performance.

I loved the clarity of the dialogue in this production. I heard many lines for the first time and others were fresh and new, or given emphasis by appropriate gestures or expressions. Simon Russell Beale in particular was excellent as Leontes. I’ve already mentioned how much more affectionate he was with the children, and I also got a greater sense of him being driven by his jealousy to behave this badly, almost against his will. His suffering was more evident than I’ve seen before too, all of which made the play more focused and the eventual happiness all the more enjoyable.

The rest of the performances were also good, and the ensemble played very well together. Richard Easton’ shepherd was another highlight, and I suspect I’ll be even more impressed retrospectively after seeing The Cherry Orchard next week, once I’ve got a better appreciation of the actors’ range in different parts.

© 2009 Sheila Evans at