Tag Archives: Darrell D’Silva

“Don Carlos” at the Rose Theatre Kingston

Friedrich Schiller’s late-18th-century work is a play that has it all, with tons of plot – intrigue at the court of Philip II of Spain (so great for history buffs) – and a romance, too. The Infante Carlos’s love for his former fiancée, now step-mother, leads to scenes with papa Phil that would delight any Freudian. Big politics and Greek-style family drama… it really is two for the price of one.

Samuel Valentine takes the title role, cutting a dashing figure, but also showing the pressurised heir as increasingly fragile. The reigning monarch Darrell D’Silva has a great time striding the edges of a moral and political “abyss”. He does ham it up, but he plays the most powerful man in the world at that time and, if you have a claxon to summon people, it must be hard not to use it. Sympathy for a tyrant isn’t easy, but D’Silva has the skill to make us consider Philip’s deep loneliness. Completing the love triangle is Kelly Gough as Elizabeth of Valois. A figure of “angelic condescension” but also an ambition-fuelled queen, Gough plays with both extremes expertly.

Kelly Gough

On top of roles a good deal wordier than usually encountered, the performers aren’t aided by Gadi Roll’s strict direction. Reflecting the formality of the Spanish court by so often restricting movement is an intelligent instruction that makes you admire the actors even more. Added to that, the speed of delivery here is astonishing, with never a tongue tied. It makes you breathless to hear this play. The impression left at the interval is of clarity but sterility, a dynamic that comes close to totally flipping soon afterwards. The staging is stark, with Rosanna Vize’s design all about Jonathan Samuels’ lighting. Props are minimal and lights moved around – ironically the play is often too atmospherically dark. But Roll ensures this is a gripping story. And there’s still more – this is a play of ideas: leadership, freedom and friendship, all with a Romantic air. 

Embodying many abstract concepts is Tom Burke as the Marquis of Posa, a role that makes the play really special. A plotter in it for the long run, Posa describes himself as “a citizen of times to come”. The role at once parades Schiller’s hindsight and futureproofs the play. Weighty themes of revolution are made urgent and philosophical. The ideas are fascinating, the character too – with a mix of unbelievable devotion and prescience that Burke manages to make credible and human. He also sounds, well, fantastic.

Blood and thoughts are “wild” in Don Carlos– streaming from a conflict with duty and from a time when youth and ideas are about to change the world. The production might struggle with the passion, too tamed at times and then unleashed too quickly, but the complexity of both the drama and the argument are given their due.

Until 17 November 2018

www.rosetheatrekingston.org

Photos by The Other Richard

“X” at the Royal Court

Don’t look at the script beforehand – the pages of Xs and blank spaces in ‘A_ct Two’ (sic) give the impression that Alistair McDowall’s new play is pretentious. Fear not, this latest head scratcher at the Royal Court is a spooky sci-fi that’s hugely entertaining.

Set in a research base on Pluto, after environmental collapse on Earth, the abandoned crew is going mad. The characters aren’t entirely successful: cynical captain (Darrell D’Silva works hard at this) and autistic scientist (Rudi Dharmalingam) are a little flat. Better written are younger, amusingly annoying crewmates, played by Ria Zmitrowicz and James Harkness. The most demanding role is for Jessica Raine. Alongside Harkness, she deals with the most challenging scene (those Xs again) admirably, and her vulnerability is an asset to the play.

It’s what happens to these astronauts that counts and, as with any good thriller, tension comes from simple events: the clock controlled from Earth goes wrong, there’s a nightingale flying around and a terrifying figure outside the window! Along with a goosebumps-generating soundtrack from Nick Powell, and a good sense of humour, this show is fun.

How time connects to memory, thus identity and even reality are the serious themes. With no sense of passing days, the crew collapses into paranoia and they, like the audience, can trust nothing. Director Vicky Featherstone pulls out all the stops, and adds a necessary ruthlessness to that printed script. As the crazy delusions mount, you come to dread each blackout and what might appear next. X has plenty of cinematic references and a filmic feel that make it easy to watch. McDowall messes around with everyone’s heads with terrific skill.

Until 7 May 2016

www.royalcourttheatre.com

Photo by Manuel Harlan

“Julius Caesar” at The Roundhouse

In a week when political assassination is once more in the news, Julius Caesar might seem more relevant to a contemporary audience than ever. The RSC’s production at The Roundhouse could never presage such current events, but the evening gives us plenty to think about. Director Lucy Bailey thrills by her engagement with history.

Lucy Bailey’s Rome is a bloody place. In the opening scene we see Romulus and Remus wrestling to the death – a bloodlust is the city’s heritage from its founders. Working with designer William Dudley and inspired by the recent Rome TV show, Bailey intelligently toys with our notions of the Romans as civilised. Video projections increase the stage presence of the Plebeians (a character in their own right) to great effect – this is a dangerous mob that rules the Empire on a whim.

Greg Hicks is a natural Caesar. Even eclectically garbed as some kind of generic Barbarian, he is commanding enough to cast a necessary shadow over the play. The evening’s highlight is Darrell D’Silva’s Mark Antony. A “masker and a reveller”, he seems drunk on grief and then violence. Reminiscent of Oliver Reed, it is a captivating performance that will make you want to see him reprise the role in Antony and Cleopatra, also part of this year’s season.

However, Julius Caesar is really the story of Brutus and Cassius. Here Brutus (Sam Troughton) is something like a monk; he is dressed like one and even gestures a benediction in a performance that invokes the play’s religious context. To bring complexity to their coalition, John Mackay attempts to make Cassius more than just a Machiavellian figure. Both are interesting ideas and yet, while there are moments of moving intimacy between the conspirators, both strategies fail to hold interest.

All the cast of Julius Caesar are martial. The characters are at home in Bailey’s world and her direction makes sense of the play’s long combat scenes, invariably presented with clarity and dynamism. Yet they disappoint, and we are hard pushed to share the opinion that Brutus was the “noblest Roman of them all”. What should be his tragedy may interest us but ultimately fails to move us emotionally.

Julius Caesar plays in rep until 5 February 2011

www.rsc.org.uk

Photo by Ellie Kurttz

Written 11 January 2011 for The London Magazine