RSC: Young Bloods (16/01/21)

I haven't reviewed anything for a while. That doesn't mean I'm not watching theatre - where lockdown has allowed, I've streamed shows and watched clips and enjoyed theatre and the arts where I can. I simply haven't been in the right headspace to actively write about the performances I've enjoyed. Somehow my voice hasn't felt relevant.

Young Bloods was all about the power of your voice. Whether that is orating to a crowd of people, exploring a character's voice, or speaking to friends and family: your voice matters. Your opinion matters.

Photo taken from the RSC Instagram: @thersc

This theatrical experiment (I'm calling it 'experiment' because, for me, that is what it was. It felt more like watching a rehearsal than watching a polished performance. This isn't a bad thing: theatre is about experimenting). So yes, this experiment really sparked something in me. I found myself arguing with it in my head as the show continued, and wanting to talk about it with people afterwards. This feels like an achievement.

The premise of the show was to take the voices of young people and relate their opinions to extracts from Shakespeare. For example, one young person spoke of LGBTQ+ rights, so the actors took the famous balcony scene from Romeo and Juliet and cast Juliet as a male character. Within this speech, Juliet asks "what's in a name?" and this really spoke to the issues of identity that the LGBTQ+ community face today as society attempts to label and un-label them. In another example, the young person spoke of racism and xenophobia, and the actors responded with Shylock's speech from The Merchant of Venice, in which he explains that Jews have "hands, organs, dimensions, senses, affections, passions," just as Christians do. Thus, a correlation between Shakespeare's words and the words of the young people of today was formed through experimental theatre.

The result in my mind was conflicted. At once, I wanted to agree, to shout yes, we need change and we need people to stand up for what they believe in. But at the same time, a certain naivety was revealed. One of the young people said that generations before us have ignored these issues, and that our generation is being left to clean up their mistakes. She was speaking about climate change, and the actors responded with one of Titania's speeches from A Midsummer Night's Dream. Fast forward to a more recent character, and we see that Sir David Attenborough has dedicated his life to caring for the planet, putting a tremendous effort into persuading people to do better. 

I'm not disagreeing with the young person's sentiment as I completely agree: climate change is urgent, and we must change our ways and do better, but it is not a new issue. Rights for minorities, protection for people and animals, the top 1% getting the best while the rest of us suffer for it - these are all issues which have been raised and fought over for centuries in one form or another, in one society or another. Shakespeare is a useful tool for bringing awareness to new issues, but we can also use literature to reflect on our own history and recognise patterns in our politics and attitudes. 

What to take from this? Whatever you like. 

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.

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.

RSC Live: Troilus and Cressida (14/11/18)

In an interview before the play, Anjoa Andoh (playing Ulysses), described Troilus and Cressida as a "hodge-podge", explaining that it is filled to the brim with strong emotions and contrasting ideas of what it means to be at war. This production did feel like a "hodge-podge", although probably not in the way that she intended.

One of the first things to note about this play is that it is the first RSC production to have a 50:50 cast - meaning there were as many women in the cast as men. Gender swaps can be problematic in Shakespeare so I was naturally concerned when I heard this, but for this production it seemed to work. The most notable swaps were the casting of a female Agamemnon and Ulysses. Traditionally, these are men of power, but giving women that power made a subtle but interesting impact on the representation of women the play: they no longer felt like victims of war.

There was another "first" for this production, as a deaf actor, Charlotte Arrowsmith, was cast in a main role for the first time on the RSC stage. She played Cassandra wonderfully, embodying the character fully despite only having a couple of appearances in the play. Her genuine deafness added authenticity to the part and actors on stage with her seemed to animate themselves more clearly for her.

A nice touch was the use of rough percussion music, composed by Evelyn Glennie (who is also deaf, by the way). Various drums and instruments were used to create unique sounds which were loud and booming. This really brought out the dystopian element of the production and sounded like war. The broadcast drew particular attention to this unusual musical choice via an interview with the musicians at the interval and camerawork throughout the play.

Language seemed more of a barrier in this production - although I am not very familiar with this play so perhaps this is not so much the fault of the production but a result of a text which was especially complex to begin with. It seems that audiences who knew the play well would have responded to it much differently, as they would appreciate the quality of the acting and the introduction of concepts much more. I was, of course, able to follow and understand most of what was going on, however there are many long, tedious speeches in this play which can make it difficult to stay focused.

Although individual elements were well executed, the play as a whole didn't seem to hang together particularly well. The contrasting themes of the play should be harmonious, yet for the first half I wasn't sure if I was meant to be watching a play of war or a romance. Gavin Fowler (Troilus) described his character as a lover, but first and foremost a soldier. Unfortunately, he came across as soppy and hopeless in love, only driven to fight by the betrayal of Cressida.

Overall, I understand what the director (Gregory Doran) was trying to achieve. I have no doubt that he was intending to modernise and make accessible a classic story, and to some extent he did manage to bring the play into the 21st Century. Unfortunately, it seems that not enough thought was put into helping the audience to understand the words as they were being spoken - something which is vital in any Shakespeare performance.

RSC Live: Romeo & Juliet (18/07/18)

(This has been posted a few days late due to going on holiday the morning after the performance)


I love going to see the live broadcasts. Before the show, you get a bit of insight into what the director's aims were along with exclusive interviews with the cast. In her pre-show interview, Director Erica Whyman discussed how relevant she feels the themes in Romeo & Juliet are today, especially regarding young people and knife crime. She spoke of the importance of love conquering hate, and I agree that this is an important message to send to young people.

Traditionally, Romeo & Juliet is set in Verona, although Whyman chose an alternative set. The exact location was kept vague, and a large metal box was moved forward and back and rotated around to be either solid or hollow, depending on the scene's requirements. Right from the offset, actors were climbing on top of the box as if it were a platform or sit on the edge like you would a wall. It was particularly effective in the traditional "balcony" scene, with Romeo comically leaning against the box while Juliet looked beyond him, unaware that he was there. The set felt very modern and some might say stylised, but the simple set kept the focus on the actors and meant they were able to utilise the entire stage.

Bally Gill and Karen Fishwick played the infatuated Romeo and Juliet, bringing a youthful energy to the roles. Gill was convincingly love-struck and tender, yet somehow managed to maintain his laddish charm and confidence. while Fishwick was so animated she was almost cartoon-like (in a good, Disney Princess kind of way).

A particularly interesting element of Whyman's production was the female Mercutio. Charlotte Josephine was fantastic in her role, although I do not feel changing the gender of the character added anything to the play. Mercutio is a loud character who teases Romeo and gets the boys riled up whenever there is a chance to have a party or a fight. Having a female in this role actually ended up quite annoying, despite Josephine's excellent acting. However, she might as well have dressed as a boy and acted the part as male, as her femininity did not come across.

Josh Finan has given me a new found love for Benvolio. He was clearly in love with Romeo (an interesting interpretation, I must admit, but it worked), and I truly believed that they were best friends. His energy on stage was positive and vibrant and he had great chemistry with other characters.

Michael Hodgson was terrifying as Juliet's father as he overpowered a fearful Lady Capulet (Mariam Haque). I know the scene in which he threatens to kick Juliet out well - I remember studying it at school, and it is a prominent moment in other productions I have seen - yet Hodgson still managed to send a shiver down my spine when he told Juliet to "die in the streets".

Ishia Bennison was hilarious as Juliet's nurse; she was tender and loving toward Juliet and their relationship was heart-warming to watch. By contrast, I felt Raphael Sowole was a fairly forgettable Tybalt. Although there was nothing wrong with his performance, he felt two-dimensional in comparison with other characters, and I found myself waiting for his death. Beth Cordingly played a female Escalus, and gave a strong performance as an authoritative figure, carrying the part well. Unfortunately, like Sowole's Tybalt and Josephine's Mercutio, I did not feel that she brought anything extra to the traditionally male character.

Overall, I was hugely impressed by the production and feel that Whyman was successful in making the play modern and relevant. It was refreshing to see that such a popular play could be reimagined and - to an extent - recreated.

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.

RSC Live: Twelfth Night (14/02/18)

This Valentine's day, I dragged my boyfriend to see Shakespeare's tangled rom-com, Twelfth Night. 

I laughed out loud as Adrian Edmondson brought Malvolio to life in the infamous yellow stockings, while the inter-connected romances tugged at my heart strings.

Set in the Victorian period, Christopher Luscombe's production had a traditional, romantic feel to it. An artistic backdrop created a bohemian setting for Orsino's house, allowing Nicholas Bishop to become a hookah-pipe-smoking hopeless romantic, dreaming of marrying Olivia (although apparently not doing much else).

The Company of Twelfth Night. Photo taken from the RSC Website:
https://www.rsc.org.uk/twelfth-night/past-productions/christopher-luscombe-2017-production/production-photos

Kara Tointon embodied the mourning Olivia with a Victorian grace and poise. Her extravagant black dress flattered her stature as she positioned herself carefully around the stage. She dramatically covered her face with a lace black veil to give Viola-dressed-as-Cesario (Dinita Gohil) the rather large hint to leave.

Sir Andrew (Michael Cochrane) and Sir Toby (John Hodgkinson) provide a hilarious drunk and disorderly contrast to Edmondson's no-nonsense Malvolio. I couldn't help but feel sorry for poor Malvolio as he read what he believed to be a love letter from Olivia, but had to laugh as Sir Toby, Sir Andrew and Fabia (Sarah Twomey) blended into the broken nude statues in attempt to conceal themselves as they spied on him.

The set became transformed once again as Sebastian arrived by train, and his arrival complicated the existing love triangle between Orsino, Viola/Cesario and Olivia even further. The 21st Century discussion of gender identity and sexual orientation was hinted at as Orsino shares a kiss with Viola still thinking she is Cesario, while Olivia appears to fall in love with Viola.

Feste (Beruce Khan) was musical and colourful, bringing entertainment and joy everywhere he went. His energy was contagious, although his cheekiness drove poor Malvolio to the edge.

Luscombe created an all-round dazzling production, complete with a talented cast and wonderfully detailed set and wardrobe. Perfect for date night!