BBC Scotland: Measure for Measure (29/04/18)

Shakespeare was given a Scottish twang in BBC Radio 3's production of Measure for Measure. Usually set in Vienna, the play was transported to a vague Scottish location as most characters spoke with Scottish accents.

The Clown, Pompey had the broadest accent of all. The comic is usually funny, but his accent made his argument with the sleepy Barnadine all the more hilarious. (Imagine him saying "Awake till you are executed and sleep afterwards" with a North-East accent!)

Despite the accents, the clarity and emotion with which all the actors spoke was incredible. It can be a true challenge to understand Shakespeare when just listening to it, but occasional sound effects, such as the familiar sounds of a prison buzzer and gates, aided comprehension.

As ever with this play, important questions of power, sexuality and religious morals were raised, however not all of the issues are as relevant today as they were at the time of writing. Claudio being sentenced to death for fornication, for example, seems outrageous in a world where having children out of wedlock is commonplace.

However, the issue of Angelo abusing his power to coerce Isabella into having sex still rings alarm bells for people today. The Duke's final assumption that everyone will be content with his decisions, including who can be married to whom, gives the suggestion that the Duke has the potential to abuse his power just as Angelo has done. Isabella does not consent to his hand in marriage, and the final sound of her crying suggests that misery is not over for her - or were they tears of joy at discovering her brother is still alive?

As BBC point out in their description, this is perhaps Shakespeare's strangest comedy, that carries heavy themes through ironic tones - not one for the faint-hearted.

Jon Richardson - Old Man (27/04/18)

(Okay, so this one isn't exactly literature, but it was so good I just HAD to write about it. No spoilers, I promise)

The lights go down. Cheering begins. A spotlight. Jon Richardson appears in a beautifully hideous cardigan. And so, the entertainment begins.

He manages to make the ordinary and mundane into hilarious sketches, bringing humour into the everyday. He paints mental pictures of his hilariously exaggerated anxieties, which more often than not seemed to result in death from something as banal as shutting a car door correctly.

He cleverly linked early jokes to later ones, creating a punchline that made me howl with laughter. I noticed two girls laughing their heads off from behind me and wondered if someone in front could hear me (most likely).

Thanks to Mr Richardson, I now have some new found anxieties about things that I didn't even realise were a thing (especially when it comes to public toilets!)

I would watch it (and laugh) all over again.

RSC Live: Macbeth (11/04/18)

Director Polly Findlay brought new and exciting elements to such a well-known Shakespeare play, bringing it storming into the 21st century. 

The most striking choice was probably the casting of 3 young girls to play the witches, using microphones to bring an eerie horror effect. Using influence from the cinematic thrillers, the 3 witches wore pyjamas, held baby dolls, and spoke in unison, creating a creepy-children-in-a-horror-film atmosphere wherever they went.

Christopher Eccleston was powerful and flawless as the magnificent Macbeth, while Niamh Cusack brought a maternal insight to her ambition as Lady Macbeth. Their chemistry was not as fiery as I had hoped, but their bond was strong and full of intimacy. 

For me, Cusack's speeches stole the show. I know Lady Macbeth's words well, having been entranced by her character at school. Even so, her monologues gave me chills as they took on new meanings to me. As an older actress, she brought a new perspective to the role, focusing on her need to please her husband in new ways, giving that she was unable to provide him with children. Her ambition was no longer selfish, but a desperate need to fulfil her duty as a wife.

Banquo (played by Raphael Sowole) had an easy friendship with Macbeth, and his much anticipated appearance as a ghost did not disappoint. The banquet scene exhibited Macbeth's breakdown and Lady Macbeth's struggle perfectly, while guests looked on in horror and disbelief at Macbeth's apparent insanity.

The Porter received an extended role as Michael Hodgson witnessed the entire performance, keeping a tally of deaths until finally losing count towards the end. He served as a comic and an observer, bringing his role into a new dimension.

Edward Bennett received the limelight during the second half as Macduff when he learned of the fate of his family. His sorrow was felt by all, his performance captivating. In his fight against Macbeth, I felt his revenge and became sympathetic to his cause - which was unexpected, as he is not usually a favourite of mine.

The set, although relatively simple, was effective and easy for set changes, keeping the performance smooth and efficient. The clever use of the clock counting down kept us on our toes as we realised time was not on Macbeth's side, and Macbeth's final scene was gripping as the perfect choreography resulted in death at the last second of the countdown. 

Overall, I have great respect for anyone who chooses to take on The Scottish Play, but this production truly exceeded all of my expectations. Bravo RSC, you've done it again.