RSC Live: Measure For Measure (31/07/19)

The Royal Shakespeare Company's Artistic Director Gregory Doran did himself, the company, and Shakespeare proud with this mesmerising production of a play that (in my opinion) is not put on enough. He transported us to 20th century Vienna, where Isabella must fight for her dignity and her brother's life in a game of power vs. sexual desire.

Sandy Grierson as Angelo and Lucy Phelps as Isabella in the poster for Measure For Measure.  Photo taken from the RSC website: https://www.rsc.org.uk/measure-for-measure

There was not a weak member among the cast - all spoke their lines beautifully and every character was explicitly clear, but I will give you my top three:

- Sandy Grierson was fantastic in his role as Angelo. I imagine it must be extremely challenging to enter into such a controversial role, knowing that the audience could easily be triggered by your character's speech and behaviour.

- Lucy Phelps had her moment to shine as Isabella, and, for the first time, I found myself really liking the character. She is a complex character to play, and the religious side to her can easily be over-done, but I felt that Phelps found the perfect balance and presented an Isabella that we would not only want to support, but also befriend. Her reaction to the Duke's final marriage proposal was a simple expression, and one of extreme pain, but it was enough that I wanted to run and hug her and protect her from the nasty Duke. Phelps is definitely an actress to watch.

- Last, but certainly not least, is Joseph Arkley, who took on the role of Lucio. He stole the show whenever he was on stage, bringing an immense energy to the role. His Lucio was extremely gentlemanly and dignified, and totally oblivious to his impact on others around him. What really stood out for me, however, was the sheer difference to his Shrew part, in which he played the abused Kate as male role (see my previous blog here: https://lilliteraturereviews.blogspot.com/2019/06/rsc-live-taming-of-shrew-050619.html). Like Phelps, Arkley is definitely an actor to watch out for in the future.

Illyria: The Tempest (24/07/19)

I love supporting local events, so I was thrilled to see outdoor theatre company Illyria Theatre putting on a production in the gardens at Drum Castle.

The stage was small, but set behind the beautiful Drum Castle (photo my own)

As you can see from the photo, the staging unit was small - although they used all of it! There are steps toward the back of the fixture which lead up to a balcony, and this was used for much of the performance. At the beginning, a "mast" was brought up here and a sheet held up, transforming the entire fixture into a ship. Actors who were not on stage came around the sides and threw buckets of water at the stage, while the actors on stage swayed together in the motion of a ship, creating the effect of a shipwreck. The whole scene was imaginative and exciting and achieved a kind of meta-theatricality by drawing attention to the clever staging.

All of the actors doubled up and played multiple roles (the entire play was done with only 5 actors), and the characters were so well developed that it was easy to forget that they were doubling up like this.

It was wonderful to see a female "Prospera". For me, this highlighted how universal the character is, and the most important aspects of her were her bond with Miranda and her power over the island.

RSC Live: The Taming of the Shrew (05/06/19)

As director Justin Audibert said in his pre-show interview, Shakespeare's Shrew is a difficult one to stage in today's #MeToo world. His decision to flip the gender roles and switch up the power structure was a stroke of genius, bringing new meaning to what some now view as a very dated script.

One of Audibert's aims was to produce a thought-provoking production. Given current topics surrounding domestic abuse and toxic masculinity, this play would have allowed for conversation anyway, but somehow having the genders flipped really highlighted how far we have come as a society.

Joseph Arkley as a male Katherine and Claire Price as a female Petruchia. Image taken from the RSC website: https://www.rsc.org.uk/the-taming-of-the-shrew/production-photos

The production could even be described as a celebration of womanhood, as women of all different shapes, colours and abilities were given the chance to shine under the spotlight. Deaf actress Charlotte Arrowsmith brought humour and realness to the role of Curtis, relaying the lines in sign language and physically emphasising her character's personality. Other actors who were present on stage signed with her as they spoke their lines, making it feel normal. Meanwhile, Amy Trigg brought new life to Biondella in a wheelchair, although at times she was more mobile than anyone else on the stage, as the style of the production allowed for lots of standing and posing. Rather than inhibiting these parts, Arrowsmith and Trigg were able to approach their roles in a new, exciting and multi-demensional way.

Amy Trigg as Biondella. Image taken from the RSC website: https://www.rsc.org.uk/the-taming-of-the-shrew/production-photos

However, this gender flip made victims of men in a patriarchal world, and women proved to be just as vicious as a misogynistic man can be. The male Katherine was "tamed" as per the script, but the situation did not sit any more comfortably than it would if the character was in her traditional form. The director had said that he wanted this production to start a conversation, and the discomfort that the audience felt at Katherine's humiliation was definitely a talking point after the show. My mum (who accompanied me to the show) commented that this situation would never happen "in real life" because men are physically stronger than women, but after some discussion we agreed that it wasn't actually about physical strength, but power. This play will always demonstrate a power imbalance, and gender is simply the easiest way to display this on a stage. It could be done in other, less controversial ways, such as via a colour-coordinated costume, but there will always have to be a victim of this cruel world.

NT Live: All My Sons (14/05/19)

Jeremy Herrin's production of All My Sons promised to be thrilling and devastating, with stunning performances from Sally Field and Bill Pullman. Last night's broadcast from the Old Vic Theatre in London allowed for an intimate viewing of this grand production. My friend - who is not usually a theatre-goer - accompanied me to the show, and we agreed that the performance was excellent, as were all of its elements.

The Kellers; Bill Pullman (Joe Keller), Colin Morgan (Chris Keller), Sally Field (Kate Keller) and Jenna Coleman (Ann Deever). Photo by Johan Persson, taken from http://ntlive.nationaltheatre.org.uk/productions/ntlout33-all-my-sons

The production opened with a series of images projected onto the back of the stage, setting the scene and transporting the audience to a post-war America. The house (which would remain for the entirety of the perfomance) then glided forwards into place, and the lights came up to reveal a back garden setting. As the play was largely naturalistic, a realistic set had to be produced, and I swear you could actually live in that house, it looked so real.

I'm not usually an Arthur Miller fan, having been scarred by having to read Death of a Salesman at school, but I understand how important these plays are and why they have become modern classics. One of my favourite elements of the live broadcasts is the pre-show clip, this one being an interview with the director and creative team, in which Herrin identified just how relevant the messages in this play are today. Despite the play being set in the 1940's, the play didn't feel old fashioned or out of touch, but brought light to shocking comparisons that we can make between today's materialistic world and the aftermath of using the war for financial gain.

Despite boasting an impressive cast all around, the stand-out performances were without a doubt Sally Field (Kate) and Bill Pullman (Joe). The complexity of their marriage and what the loss of a son had done to them was made clear before Field had even entered the stage, and they bounced off each other with a perfect chemistry. During the light-hearted first act, their relationship was stereotypical and amusing, even comical at times, but the oppressive nature of their situation became clearer as the play progressed.

Unfortunately, however, I felt that Field and Pullman overshadowed the other actors. Having seen Colin Morgan (Chris) and Jenna Coleman (Annie) more recently in TV series, I expected more from them given that they were acting alongside such big names. While their performances were not bad, I didn't feel for their characters in the same way that I felt for Kate and Joe, and I think it was a lack of chemistry that let them down together. While they produced the right emotions in the right places, their performances lacked the subtleties that Field and Pullman incorporated into theirs, and so Chris and Annie's relationship felt like more of a convenience than actual love.

Overall as a production, it was fantastic - especially if you're an Arthur Miller fan already. The set was beautiful, and supporting actors provided the diversity and light comic relief that the play demands throughout. Would I go to see another Arthur Miller play? Probably. Will my friend go to another live broadcast? Definitely.

Ten Feet Tall Theatre: A Midsummer Night's Dream (30/03/19)

One of my favourite Shakespeare plays came to Aberdeen as Ten Feet Tall Theatre presented their creative and inventive take on A Midsummer Night's Dream.

I'll begin with my favourite element of this production: the way in which parallels between the human and fairy worlds were highlighted, which was achieved by having the same actors play different parts. Puck became Philostrate; Oberon became Theseus; Titania became Hippolyta; the rude mechanicals became the fairies. Their relationships with one another in the fairy world was reflected in the human world, and this parallel gave Theseus' conclusion that the four lovers should marry who they please a little something extra following Oberon's sympathy toward the humans.

The performance began with a white setting, and Puck entered the scene (a surprise to anyone familiar with the script). The character is traditionally played by a man, but Stephanie McGregor brought a cheeky femininity to the role and made the part her own. Before the action began, she gave a knowing smile to the audience and place a coat over her costume that would identify her as Philostrate, and left the stage.

Theseus (Mark Wood) has words with Hermia (Danielle Jam) while Egeus (Stewart Aitken) and Demetrius (Ewan Petrie) look on.

The stage was transformed with a burst of confetti as the audience prepared to be transported to the fairy forest. The set remained minimal with only a table at the back acting as a adaptable piece of earth and the curtains lifted to reveal branches and greenery to give the look of a forest. This left the entire front portion of the stage open for actors to make use of - and I dare say not an inch of that stage was unused!

The chemistry between the characters was undeniable. My heart ached for poor Helena (Rebecca Wilkie) as she yearned after Demetrius (Ewan Petrie), and the mutual adoration between Hermia (Danielle Jam) and Lysander (Cristian Ortega) was romantic without being cliche. Likewise, the resolution after Oberon's (Mark Wood) trick on Titania (Belle Jones) was heartwarming, and this translated easily to Theseus and Hippolyta's marriage.

But, as the four lovers had their emotions tampered with (I'm looking at you, Puck) their love turned to resentment and friendships were tested. The choreography of the climactic scene with all four on stage was impressive, yet executed effortlessly by the actors. Each of them pulled and pushed at one another as the fight was moved around the stage in perfect pace, one only avoiding another as they move to start on someone else.

I must, as well, make a special mention to the actors playing Peter Quince (Stewart Aitken) and Bottom (Ross Allan). These two together were hilarious, as Peter Quince incompetently directs a show that Bottom is determined to over-act in and make all about himself. Their exaggerated and detailed personalities led to comical interactions with the other artisans (and fairies, in Bottom's case) and whenever they came onto the stage I knew I was in for more laughter.

Oberon (Mark Wood) and Puck (Stephanie McGregor)

The final joke of the play - that is, the performance of Pyramus and Thisbe - had me in absolute stitches. How the actors managed to keep a straight face, I'll never know! Everything that could possibly go wrong went wrong: from the wall not having its essential chink, to the backdrop which says "Pyramus and Thisbe" being upside down, to Bottom breaking his character repeatedly to explain his own performance as Pyramus.

There are, of course, many more things I can compliment about this performance: the Shakespearean verse was spoken beautifully with Scottish accents; the attention to detail in the costumes gave characters individuality; the sound and lighting effects were subtle yet contributed to the magical atmosphere.

Titania (Belle Jones) and her fairies attending to Bottom's (Ross Allan) many itches

I thoroughly enjoyed this production and caught myself smiling almost entirely throughout. Despite knowing the play so well, I was enchanted by the magical world and totally captivated by the characters. This production proves that you do not need to travel to London or Stratford to see a Shakespeare done well - there are perfectly refreshing productions to be seen right on your doorstep!


All photos taken from Ten Feet Tall Theatre's Facebook page: https://www.facebook.com/tenfeettallaberdeen/

NT On Tour: War Horse (26/01/19)

As a theatre lover, I have been looking for an opportunity to see the stage adaptation of Michael Morpurgo's War Horse, and this weekend I finally got the chance to see it. The play follows the journey of Joey, a horse in the First World War and the struggles his owner, Albert, goes through to be reunited with his beloved friend. Within just 10 years, the award winning production has been around the world and broken West End records, and I am thrilled to say that it lives up to its credentials.

Photo taken from National Theatre website:
https://www.nationaltheatre.org.uk/shows/war-horse-on-tour#production-story

Beginning the performance, the audience is introduced to a foal, effortlessly carried around the stage by puppeteers. The foal gambolled about the stage, mimicking the actions of a real creature from its ears right down to its tail. Despite the puppeteers being entirely visible, the illusion was compellingly realistic as they manoeuvred the young Joey with skill and finesse. This illusion continued throughout the production with all puppets, and very soon I forgot almost entirely that there were any puppeteers on the stage at all - even when several bodies were needed to move the animals into more complex positions (such as in the image above).

The most surprising element for me was the distinctive lack of set. Scenery was kept extremely simple and minimalist, with only a door and a window to represent a house, for example. Somehow, this added to the production, as it allowed the actors and puppets to dominate the entire stage, making use of its depth and of every corner. Across the top of the performance space was a simple strip on which images were projected. It sounds simple, but it was an easy way of changing the scenery without an intrusive backdrop and without drawing attention away from the action, complementing the minimalist set while providing enough information to transport the audience from one scene to another.

Albert (Scott Miller) with Joey as a foal. Photo taken from War Horse On Stage:
 http://www.warhorseonstage.com/about/gallery/

The inventiveness of the production goes beyond the puppetry and set. Sound effects, lighting and a smoke machine created an eerie battlefield as the beloved Joey went to war, placing the audience on the front line with him. Not only is the emotion of the animal visible in his actions, but it is felt through the subtle (and sometimes not so subtle) changes in atmosphere through music, song and sounds.

Now for the emotional part. Throughout the performance, the bond between the audience and Joey has been growing stronger, as more and more you hope that Joey will survive the war and be reunited with his precious Albert. By the time you reach the emotional climax of the play, you will be so enchanted by their bond and so moved by the story that these final events will capture even the hardest of hearts. If you do not already know the story, be prepared to cry. If you do know the story, be prepared to cry.