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.

Talegate Theatre Company: Sleeping Beauty (30/12/18)

Christmas is a time for panto fun, and my good friend was starring in Talegate Theatre Company's latest production of Sleeping Beauty. What better excuse to go?!

The cast of the purple team for Sleeping Beauty

Performances were carried out across the country by colour coordinated teams - my friend was in the purple team and I saw them perform at Thorsby Riding Hall in Nottingham.

Despite only having four cast members, the fairytale plot progressed easily with all the well-known panto jokes (and a few new ones!) and enough costume changes to satisfy any dame's sparkly needs!

The dame oozed charisma and comedy, throwing in the occasional adult joke to keep the parents amused, while Princess Aurora and Prince Charming fell madly in love via harmonious musical numbers. The evil Malevola cackled her way through the show, possessing the stage and captivating the audience as she revealed her evil plans - giving plenty of opportunities for booing and hissing! In Act 2, the four somehow managed to coordinate a performance of "the 12 Days of Christmas", with each of them rushing to hold up their next item and sabotaging each other's parts, making for a few minutes of chaotic comedy leaving the audience in stitches!

The performers interacted with the audience throughout, engaging children with current songs, including one from The Greatest Showman and Baby Shark (if you didn't know the actions before, you will now!) It was pure entertainment for children and adults alike.

The shows are continuing for a couple of weeks so there's still time to catch it! Take a look at Talegate's website for upcoming shows near you: www.talegatetheatre.co.uk

My Sonnet

This semester at uni, I have been looking closely at types of Sonnet (in particular, the Petrarchan and the Shakespearean).  The form has varied as different writers have adapted it to suit their own style, but it is typically written in iambic pentameter with either an ABAB or ABBA rhyme scheme, ending with a rhyhming couplet and consisting of 14 lines.  I've wanted to try writing creatively for a while, so I decided to use my course texts as inspiration for my own sonnet.  Bonus points if you get all the references!

How did Nabokov tell, convincingly,

A story so provocative, so well?

Into Hamlet’s madness, actors can dwell,

And Shakespeare will be perceived mad, too.  By

A Donne-ish uncertainty that hunts like

Adonis, I am Holmes detecting clues

While Watson whispers irrational cues

On which my imagination will strike

At any point.  Shelley will, on the shelves,

Haunt me until I have lost Paradise

As I read ‘til I, too, have yellow eyes.

We are all completely beside ourselves

When we read.  Preserve, like the Scott-ish pound,

These tales of Fauste and Prometheus Bound.

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.

NT Live: Julie (06/09/18)

Last week, I took my boyfriend to see the live broadcast of Julie: the National Theatre's adaptation of Strindberg's 1888 classic, Miss Julie. Starring Vanessa Kirby in the title role, I arrived at the cinema with high expectations for Polly Stenham's shiny new production.

Photo from National Theatre's website: https://www.nationaltheatre.org.uk/shows/julie

In advance of this new adaptation, I read the original to see what key themes I needed to look out for. I'm so glad I did. Not because it was difficult to follow or understand or anything, but because the original play has something that the new play lacks.

The original is set in a Count's household in Sweden, and deals with issues of religion, status and sexuality. It explores what it means to be free and the constraints of society. I've seen a few productions of classics (such as Julius Caesar and Macbeth) and so am familiar with the difficulties that directors can face when attempting to bring traditional themes into a modern setting.

The play opened with flashing lights and pulsing music, as dancers stumbled around in an intoxicated performance: it was clearly a 21st century party. A screen came down to hide the party and we were downstairs in the kitchen; Christina (Thalissa Tiexeira) and Jean (Eric Kofi Abrefa) kicked off the dialogue with the opening scene.

The set was aesthetically pleasing - everything was symmetrical and white, and all dishwashers and rubbish bins were hidden within the kitchen counters. This gave the kitchen a modern yet clinical feel, representative of the society which we learn Julie feels trapped in.

As I expected, Vanessa Kirby was fantastic as Julie, bringing sexuality, childishness and insanity to the role all at once. She wore a long skirt which she was constantly fiddling with and pulled up past her knees whenever she sat down, and the straps of her bralette were rarely on her shoulders.

As Julie's character spiralled into insanity and self-loathing, certain elements were adapted. A staple moment for me was when she kills her bird: traditionally, Jean uses a knife to decapitate it on a chopping board, as if it were a piece of meat for cooking. In this new version, Julie takes the bird to the blender and quickly turns in on, leaving a bloody mess. Having Julie kill the bird herself in such a violent way changes the meaning of this moment. The scene is no longer linked to the execution of Saint John the Baptist, but becomes a moment of taking control in a messy, impulsive way.

As we walked home, we discussed the moral of the play and what message we were taking away from it. I'd like to say we discussed misogyny or racism or sexuality. Unfortunately, we talked about the dangers of drugs and excessive drinking and how people, especially those of a high profile, get themselves into that state. While this is not a bad moral for a play to have, it is not what the directors said they were going for in the pre-show interview.