Tag Archives: Brendan O’Hea

“Measure For Measure” at Shakespeare’s Globe

For all its charms, the Globe is not a comfortable theatre and at Wednesday’s press night of Measure for Measure it was pretty much like an oven. It’s testament to Dominic Dromgoole’s new production that the audience adored the show under such conditions. Exploiting the play’s bawdy background, the cast creates such riotous fun I am surprised they didn’t pass out. Every performer won my admiration.

His last turn as director in charge of the theatre, Dromgoole goes all out with the ‘groundlings’ standing in the pit; they are pushed around by pimps and prostitutes before the play’s even begun. And although there is a close-up branding of one prostitute, emblematic of the puritanical theme of justice, the overall tone is fun. Led by a boisterous Mistress Overdone (Petra Massey), with a great comic turn from Brendan O’Hea’s Lucio – and plenty of ad-libbing – the licentious lord it over this play.

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Mariah Gale and Kurt Egyiawan

The bawds make a strong contrast with what is the main thrust of the story: Angelo’s condemnation, then blackmail, of Claudio (Joel MacCormack) and his sister Isabella – offering to save him in return for sex with her. All three deliver powerfully understated performances. Kurt Egyiawan’s Angelo gave me a chill, despite that weather. He’s wonderful at suggesting anguish behind his evil impulses – the uselessness of Isabella trying to defend herself when his “false o’erweighs your true” is delivered with near resignation. Mariah Gale gives an eloquent and credible portrayal of as Isabella, making the character’s religion and integrity central.

Despite the excellent performances, Dromgoole doesn’t manage that precarious balance between scenes of comedy and tension. There’s a lack of subtlety, shown best in Dominic Rowan’s absconding Duke: a powerful actor, with first class delivery, he rattles through plot points for laughs and abandons ambiguity about his motives. But Dromgoole knows the venue better than anyone and, while the tactic is vaguely disappointing, it’s in keeping with a crowd-pleasing blockbuster of a show.

Until 17 October 2015

www.shakespearesglobe.com

Photos by Marc Brenner

“Henry V” at Shakespeare’s Globe

The Globe has a special relationship with Henry V: the play opened the new theatre and any bardophile is sure to thrill at the lines referring to “this wooden O” when they hear them in situ. With the bunting still out on the streets, Shakespeare’s most patriotic king is in tune with this summer. Henry’s rallying “once more unto the breach” is addressed so directly to the audience that it receives spontaneous applause. And it is richly deserved: Dominic Dromgoole’s new production is a triumph.

Droomgoole is too intelligent a director to reduce Henry V to jingoism. Fully at home in The Globe, he brings out the nuances in the play with all its bittersweet humour. There’s a tremendous performance from Brendan O’Hea as the leek-loving Welshman Fluellen, providing a cynical twist on patriotism. Leading the low life is the superb Sam Cox as Pistol, getting the laughs while reminding us that those who suffer most in war are often the poor.

The production is aided immeasurably by a wonderful performance from Brid Brennan in the role of the chorus. She sets the scenes, urging us to “work our thoughts” with beautiful clarity, perfectly reflecting Droomgoole’s simple, no-nonsense approach. This Henry V is full of confidence, it has faith in the play, and the production’s achievement is to show off Shakespeare at his very best.

The jewel in the crown of Droomgoole’s Henry V is Jamie Parker in the title role. Martial certainly, blood curdling when he has to be, but also full of charm, Parker’s frequently understated performance shows total control (he’s even better than Branagh), and you want to back him and even fight for him. This is a truly glorious reign, certain to make any theatre lover happy.

Until 26 August 2012

www.shakespearesglobe.com

Photo by John Haynes

Written 14 June 2012 for The London Magazine