Northern Ballet: Romeo & Juliet (2024)

You can tell its been a good production when I'm inspired to write a blog for the first time in 3 years!

I can't profess to know much about ballet. I enjoyed productions of Swan Lake and the Nutcracker as a child, but apart from the odd local production here and there I don't have much experience of the art at all. One thing I do know, however, is Shakespeare's Romeo and Juliet. I've written about this play at university, and have seen several productions including film, professional/national theatre, and local interpretations.

Photograph by Guy Farrow featuring dancers Amber Lewis and Joseph Taylor. Taken from Northern Ballet's website: https://northernballet.com/romeo-and-juliet

One thing that really struck me about the choreography of Northern Ballet's recent production was the intentional movements to bring to mind certain lines of the play. One of my favourites was the use of the two lovers' palms pressing together and moving in unison, as "palm to palm is holy palmer's kiss." The intimate choreography would portray romance to any onlooker, whether they know the language of the play or not. In the famous balcony scene, the consistent touching of one another's faces is reminiscent of the imagery, "O' that I were a glove upon that hand that I might touch that cheek." They even had a good smooch, reminding audiences that Romeo does "kiss by the book!"

This interpretive style was used consistently throughout with other characters too: Tybalt's status as "Prince of Cats" was reinforced by cat-like gestures and hisses from the ensemble, and Mercutio's bawdy approach to life was reflected in his suggestive and playful motions. The contrast between the two characters was reinforced by costume, as Tybalt's black leather-look outfit had details akin to amour, while Mercutio's bright costuming included a yellow striped legging such as a jester might wear. This made for a striking fight scene between the two characters who were so visually juxtaposed against one another. 

Production photos by Tristram Kenton and Emily Nuttall (https://northernballet.com/romeo-and-juliet)

The themed costuming made clear to the audience which character was from the house of Capulet (wearing black) or the house of Montague (wearing white/pale). The only exception was Juliet and her girls, who were dressed in white to portray their innocence and youth (at least for the most part, as in one of the final scenes Juliet was symbolically given a Capulet-style black dress to wear). Juliet's Nurse also wore a different outfit, although still on Capulet theme: a red dress, which was accessorised with a black cloak when she needed to sneak a message to Romeo. 

These contrasts continued in the music, as you would expect, and in the style of dance. Romeo and Juliet's scenes felt light, intimate, and delicate. The scenes with the Montagues felt cheeky, playful and often incorporated humour, particularly in the first half of the performance. When the Capulets performed, they had an air of command backed up by music that had strength and power. Sometimes productions of the play are not as clear as they could be when presenting the two houses, but Northern Ballet hit the nail on the visual and musical head with this adaptation.

Suffice to say I will be looking out for future Northern Ballet productions - and I might drag my husband to other Shakespeare inspired ballets too, lucky him!

A Midsummer Night's Dream

Set in the beautiful Lincoln Lawns, outdoor Shakespeare is bound to be a treat. Presenting A Midsummer Night's Dream in such stunning a setting at sunset is a recipe for true magic. 

The setting of A Midsummer Night's Dream. Photo taken Jamie Marcus Productions' Facebook page: from https://www.facebook.com/jamiemarcusproductions/photos  

The cast were terrific, each perfectly chosen for their role and the chemistry between them was spot on as they bounced off each other's energy. The charming Oberon commanded the stage whenever he appeared, giving a real air of authority to the role. He instructed Puck, who was mischievous and animated yet clearly devoted to his Fairy King. Titania brought sass to the role - she was Queen of the fairies and she knew it. Bottom is perhaps the most fun character to play but the most difficult to pull off, yet this Bottom was as hilarious as could be while still evoking feelings of sympathy. The mechanicals stepped up to match him with their own colourful personalities and the production of Pyramus and Thisbe left audience members in fits of laughter. The four lovers had fantastic timing and physical theatre skills, bringing out the comedy and emotion in Shakespeare's lines while following the fast pace that their scenes require.

It was brilliant to see the stage from Wind in the Willows being adapted for this play. The riverbank of the daytime was transformed into a magical woodland with very little effort thanks to the surrounding trees and setting sun. The costumes added to this: although vibrant and colourful, the forest tones of the fairies' outfits contributed to the overall atmosphere and made it feel like you were watching woodland nymphs go about their nightly mischief. 

It is impossible for me to write about a Shakespeare production without a word about that particular production's relevance. A Midsummer Night's Dream is a favourite among directors, performers and audiences as it is rich with possibilities - the magical element makes it feel like anything is possible. This director chose to keep casting straightforward, only swapping genders for characters such as Puck and the mechanicals where it doesn't really matter, and the text itself was uncut and unchanged. This gave the production a traditional feel, keeping things as per the text without any distracting gimmicks. In today's times, bringing this play back to basics felt poignant and desperately needed: right now we want familiarity and security, and something to simply make us laugh without having to think too hard about it. 

This play was a celebration of theatre, laughter, and being together. A real treat and a true triumph, and everyone involved should be incredibly proud.

NT Film: Romeo and Juliet (April 2021)

I've hesitated about writing this review. I prefer to assess a play rather than a film, and this was advertised to us as a film recorded in a theatre. Absolutely, theatrical elements are thrown at the viewer throughout the production, many of which I will enjoy discussing in this blog. Yet, the effect of a film, no matter how theatrical or Shakespearean, will always be different to the effect of live theatre.

For a start, the immediacy is changed. When watching a play, the audience has a real sense of this is happening now, even when watching a live broadcast (although this effect is best when you are in the audience next to the stage). With films however, we get a sense of this is pre-recorded. A great film will make it feel more immediate, but we always go into a film with the knowledge that there will be different angles, different takes, even different days all edited together to make up the version that we as viewers are presented with.

I realise this all sounds very biased and pro-theatre, even anti-film. I enjoy films as much as the next person, of course, and there are some films that just cannot be achieved on stage in the same way. I would even go as far to say that there are some Shakespeare films that are bloody fantastic and work better than some theatrical productions I have seen. But Shakespeare on film is difficult. It was written 300 years before the first film came out, and 400 years before the types films that we are accustomed to today. Editing is necessary, and certain theatricalities just don't translate very easily.

That said, I was very excited when National Theatre announced a new Romeo and Juliet - especially starring Josh O'Connor (I've been loving The Crown on Netflix). Let me start by saying what I loved about the film. 

Photo taken from National Theatre's website: 
https://www.nationaltheatre.org.uk/shows/romeo-and-juliet-film

1. The intimate atmosphere. This is something that film does better than theatre. Thanks to close-ups, camera angles and narrow alleys created on set, the whole production felt close and almost private. You have a real sense of watching without the characters knowing - the polar opposite of what many of Shakespeare's characters go through. Romeo and Juliet's relationship was steamed up by this intimacy, but we also got up close and personal with the likes of Tybalt and Mercutio in the fight scenes, revealing the anger and pride on their faces and allowing us to watch as it turns to pain.

2. Tamsin Greig. I mean what's not to love. I'd recently seen her as Malvolia in Twelfth Night in which she was absolutely fantastic and presented Malvolio to me in a new light. I was sort of surprised when I saw that she was to play Lady Capulet - I hadn't considered the role to be very big - but as the play progressed I realised why. Many of Lord Capulet's lines were also given to her. In a genius move, the stereotypical family hierarchy of mean-father-controls-daughter was completely removed from the play, I think for the better. We know that mothers can be controlling too, and something about this change made her character feel fresh and modern. By having both parents' lines, Greig was tender and maternal when Juliet obeyed, yet cold and tyrannical when Juliet refuses to marry Paris. As a result Lord Capulet shrank into the background and became more of a passive figure, but the twist was intriguing for anyone already familiar with the play and allowed Greig to shine in this commanding role.

3. Juliet's bedroom speech. Wow. For me, this was Jessie Buckley's shining moment. An element of theatricality was brought into this monologue - for how else can a monologue be convincingly achieved - as Juliet's bed was moved away from the set and all other actors circled around her to watch. Her speech was delivered as what I can only describe as an anxiety attack, questioning every person involved and how this plan could go horribly wrong. Her pacing was perfect, lingering on each cause for anxiety just long enough for the viewer to consider it before moving onto the next tragic possibility.

However, there were some elements that just didn't work for me.

First of all, the drastic cuts. I've seen a review that calls it "Romeo and Juliet cut in half but twice as good" and I have to disagree. How can taking all the comedy out of the play possibly improve it?! For me, a key point of the play is to have the happy, comedic, everything-is-fine first half, then BAM Mercutio dies and its all doom-and-gloom tragedy from there. You're not supposed to feel impending doom right from the start, that's what Hamlet is for. 

Next, the love interest between Benvolio and Mercutio - don't jump to judging me because one thing I'm not is homophobic. I'm all for extra romances and gender swaps etc to speak to the LGBTQ+ community, and theatre is a fantastic way to celebrate this because ultimately theatre celebrates being human. BUT. In this particular production, it felt like a box ticking exercise. Both Mercutio and Benvolio had had their lines drastically chopped, and their characters suffered for it. You don't have time to get to know Mercutio before he dies (no, the Queen Mab speech alone is not enough), and Benvolio felt like more of a background character. Giving them a romantic subplot just did not make up for this, and in a film that is already restricted by time I feel they could have added something more effective instead. What, you ask? Try more of their lines.

Finally, and I hate to return to this, but putting Romeo and Juliet in a film doesn't always work. Yes, you get intimacy, but you also get access to how ridiculous the story actually is. Baz Luhmann gets away with it with his fantastically bizarre adaptation, and the Olivia Hussey version was exceptional. But when the actors (as brilliant as they may be) are not teenagers and it is played naturalistically, the whole story becomes difficult to digest. Combine that with the cuts to shorten the time they have to fall in love even further (Romeo only has two lines from when he sees Juliet to fall in love with her) and it becomes more and more implausible. Godwin attempted to fill these gaps with montages of Romeo and Juliet chasing each other around the stage, but it wasn't enough to justify how they fell so madly in love and why the consequences are as extreme as exile and death. In English theatre, sense rarely prevails, but it is asking much more of the viewer to follow Shakespearean reasoning in a modern film. 

NT Live At Home: Twelfth Night (2020)

I've been terrible at writing reviews lately thanks to lots of changes in my life, but I recently watched National Theatre's production of Twelfth Night starring Tamsin Greig. It was a phenomenal production for many reasons (hello, incredible set design), but rather than write a review gushing over how amazing it was (definitely 5 stars from me) I thought I'd focus on the element that interested me the most: Malvolia.

Tamsin Greig as Malvolia. Photo taken from:
https://www.comedy.co.uk/tv/twelfth-night-nt-live-2020/

Casting a female Malvolia, on the surface, feels like any other gender swap: interesting, modern, revealing. For me, Malvolia was all these things and more, and the consequences this might have for a modern audience are very exciting and multifaceted.

Traditionally, Malvolio's malcontentedness is wrapped up in class. He can be seen as an archetypal Malcontent, an outside character who is dissatisfied with the social structure and provides a commentary on the play and by extension on wider society. The irony is that he is an outsider as far as the other characters are concerned, but he is designed to be the most relatable and entertaining for the audience. Of course, Malvolia still does all of these things - the lines were not changed except for a few pronouns. But by changing the gender of the character, an extra layer was added and suddenly Malvolia represented so much more than class.

Gender speaks to today's society perhaps more than class. Looking at the Royals as a modern example, Kate Middleton was wholeheartedly accepted into the Royal family despite her being classed as a 'commoner' by the media at the time (though we all know she is far from common).

As an actor, Greig was fully aware of the implications of portraying a female Malvolia: "I was very nervous of making Malvolio a woman and therefore a lesbian, considering what happens to the character in the play, which is monstrous" (quote taken from her interview with the Guardian, https://www.theguardian.com/stage/2020/apr/20/tamsin-greig-malvolia-twelfth-night-national-theatre). But I think that is precisely why this gender swap is so important. What happens is monstrous, and this production made an effort to point this monstrosity out to the audience.

Having an older Malvolia - perhaps of the generation between typically homophobic and LGBT accepting - gives the character a complex subtext. Gay marriage only became legal in the UK in 2013, and it was as recent as 1967 that consensual homosexual acts were legalised. The need to hide her feelings is fitting for Greig's character, and perhaps relatable to members of the audience who went through (or may still be going through) a struggle with their sexual identity due to the cultural pressures they grew up with. 

On top of the Malvolio-Malvolia switch, Fabian becomes Fabia and Feste is also female. The attacks on Malvolia are therefore attacks done by other women, again highlighting an area of society that is often not talked about: women can be incredibly cruel. 

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.

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/

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.

NT Live: King Lear (27/09/18)

The Daily Telegraph, The Independent and The Stage were among those who gave five stars to National Theatre's latest production of King Lear. Director Jonathan Munby was blessed with a fantastic cast, and he really brought out the best in them and in this remarkable play.

Ian McKellen as King Lear (photo from National Theatre's website: http://ntlive.nationaltheatre.org.uk/productions/ntlout29-king-lear)

Ian McKellen took the title role, commanding the stage wherever he walked. His descent into madness was illustrated beautifully in his mannerisms, voice and expressions, and there was a seeming authenticity in his relationships with other characters. He presented an inner strength which shone through even in Lear's weakest of moments, giving the King a true supremacy.

This play would have been fantastic even without McKellen - but he brought something special to the role. In the interviews before the show, McKellen and other cast members talked briefly about Lear's age. One word in particular came up a couple of times: dementia. It is a devastating illness that has the power to rip families and lives apart. Yet, it was not discovered until 1907 - that's 300 years after Shakepeare wrote King Lear.

James Corrigan is a name which I will remember for a long time after seeing his portrayal of Edmund. Before this performance, Edmund was not my favourite Shakespearean character. I have even found his subplot to be somewhat irritating, but Corrigan presented him to me in a new light. He brought humour and wit to the role, animating his performance with sly looks and subtle expressions. His confidence coupled with his charisma created a likeable character, despite his deception and wrong-doing.

Luke Thompson put on a striking performance as Edgar, beginning the play with a fumbling nervousness as Edmund plays his tricks. His transformation into "poor Tom" was physical and filled with emotion as he smeared clay and blood over his face and body. Thompson effortlessly varied his accent to adopt different personas for his interactions with the blinded Gloucester (Danny Webb), while embodying deep regret and sorrow to the audience for his father's situation.

A striking decision for this performance was to cast a female Kent. Sinead Cusack brought a maternal aspect to the role, perhaps simply due to her gender. I think, however, it was more than that: she showed true care for Lear and was willing to go to great lengths to protect him, even risking her own life to watch over him.

I want to say something about the fact that the production originated in Chichester Festival Theatre. The Minerva is a small theatre with only 300 seats, so this is an unexpected place to find a name as big as Ian McKellen take on a role as prominent as King Lear. In choosing the role, McKellen said that he wanted to create intimacy, and that he wanted the audience to be close enough to see his button when he begs "pray you, undo this button". Creating such intimacy exposes the actors in a new light, giving meaning to every movement, every breath, every blink. Viewing the performance via a live broadcast has a similar effect, particularly with the camera following characters' reactions.

It is not often that I find myself so moved by a play which I know I will be reviewing. I went into the cinema with my analytical head on, yet, by the interval I was already mesmerised by individuals and the production as a whole. I allowed myself to be totally immersed in the story, feeling the characters' emotions until the final scene of the play reduced me to tears. If I get the chance to watch this production again, I will definitely take it. Five stars well deserved.

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.

NT Live: Macbeth (10/05/18)

About a month after seeing the RSC's fabulous production, I tuned into National Theatre's broadcast of Macbeth to see how they would adapt Shakespeare's Scottish tragedy.

As with the RSC, Rufus Norris (NT Director) cast the stage in smoke and eerie lighting, using echoing sound effects to create a spooky atmosphere. Rae Smith's set was nightmarish - the pre-show feature told the audience that it was to represent a modern civil war; we are to imagine the world if the national grid went down and banks stopped giving out money.

Although I got the idea of war and survival, I'm not sure why the King of Scotland would have been cause for concern in this setting. Their "armour" is literally taped onto them and all their clothes ripped, yet for some unknown reason hierarchy is still an issue in this setting. Of course, there is no explicit reason for this civil war to be taking place, but there does not seem to be much of a kingdom for Duncan or Macbeth to want to rule over.

Rory Kinnear was a tormented Macbeth, and his descent into madness was emotional and captivating. His chemistry with Anne-Marie Duff (Lady Macbeth) was intense. The first time the audience saw them together, they shared an intimate and passionate kiss. Their relationship is then put to the test as power and madness overcomes Macbeth.

Lady Macbeth must be one of the most difficult characters to portray to an audience of Shakespeare fans. Her character is powerful, emotional and tragic all at once and the first impression is vital. Duff's Lady Macbeth is one full of anguish and desperation, and her character complimented Kinnear's Macbeth well. She appeared genuinely thrilled and excited by the prospect of her husband becoming King. As the play progressed, subtleties in her characterisation, such as trembling hands and a too-loud laugh, demonstrated her downward spiral into insanity.

The three witches were fairly typical - played by women, each dressed in creepy and quirky attire. One seemed to lead the other two, commanding the stage where she walked. One was monotonous with echoes when she talked, another had a high-pitched shrieking voice. They broke spacial barriers as they moved around the entire stage - which, for the non-supernatural scenes, was usually sectioned off using set.

I was, however, disappointed with Banquo's ghost. I have previously seen him portrayed with gory effects, and the RSC covered him in an ash-like substance, yet this Banquo seemed to be missing something. I was anticipating his appearance and how his interaction with Macbeth would unfold, yet he just stumbled around the stage and Kinnear was left doing all the work.

Trevor Fox had an extended role of the Porter. His monologue after the murder of Duncan is quirky and comedic as it is, but his Geordie accent brought an unusual dimension to his role which suited the moment perfectly. He seemed to be a friend or neighbour or helper of the Macbeths, assisting them throughout the production and absorbing other minor parts.

Generally, the performance had me captivated from start to finish, although I have to question how much of this was more to do with the fact that it was Macbeth. 

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.

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.

NT Live: Julius Caesar (22/03/18)

This is the first National Theatre performance I have seen since Frankenstein, way back in 2012 (which was brilliant, by the way), so I had high hopes for this one. The director, Nicholas Hytner, made some interesting decisions, some of which haven't been too well received.

The most unusual decision for a Shakespeare production was the movable stage. I am used to seeing the set move about and a stage being transformed, but this one actually forced the audience to move as well. Before the dialogue began, a live band entertained the audience with loud rock music, and the stage was set up very much like a rock gig. The stage lost and gained parts as the production continued, changing shape and size, until by the end it was literally a warzone. Comfortable in my cinema seat, this made for effective scene changes, but I couldn't help feeling sorry for the poor groundlings (in Shakespeare's day, this was the standing audience) at the venue.

Next, some quirky character decisions were made. Julius Caesar (David Calder) was dressed in Trump-like attire, sporting a baseball cap with a tie and surrounded by tacky merchandise. This immediately set him up as a villainous dictator, and as a character that is not necessarily in power for the right reasons. He loved the attention, waving at the audience and soaking up the limelight. A walking stick and wheelchair on occasion gave the subtle hint that he was ill, although this felt pointless given his fate halfway through the play.

Hytner chose to cast Michelle Fairley as Cassius, making this usually predominantly male play have a female lead to balance the scales. Fairley gave a strong performance, although the world still felt patriarchal, so Cassius' motivation for wanting Caesar dead perhaps didn't translate as well as it could have. Cassius' long standing friendship with Brutus (Ben Whishaw) was clearly established in their first scene. They appeared as old friends who had been close at one stage, although a difference of opinion or values seemed to have come between them. Due to this history, Cassius was able to sway Brutus to her way of thinking relatively easily, restoring their old friendship.

David Morrissey's Mark Anthony was strong and loud. Although Brutus's speech over the dead Caesar was powerful, Mark Anthony's was even more so, throwing into question whether the conspirators have done the right thing by the nation.

The play, as always, ended with multiple deaths and suicides, leaving a sour taste. As a tragedy, it should have a tragic ending, although the final scenes seemed to drag and I was ultimately just waiting for everyone to die off.

I respect Hytner's efforts - Julius Caesar is a tremendous play to take on and it is an even bigger feat to update the characters into the 21st Century. That said, some things are perhaps better left as they are and a more traditional approach taken. A for effort, though.

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!