Tag Archives: Ellen McDougall

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“East is South” at the Hampstead Theatre

It’s an old trope in science fiction that, when asked if there is a God, a supercomputer replies: “There is now”. Playwright Beau Willimon’s riff on the idea of AI and divinity is intelligent and a refusal not to simplify such a complex topic is admirable. If too many ideas are mentioned then left unpacked, it probably isn’t a surprise. But this mix of modern concerns and religion benefits from director Ellen McDougall’s impressive infusion of dramatic tension and some fine performances.

The play is a series of interrogation scenes, set around an accident in an AI lab. So, there’s little action and an awful lot of talking. It works (just about) mostly through the efforts of Nathalie Armin, whose character is investigating the security breach. Her character is a psychologist, there’s the threat of terrorism, and Armin manages to make the role likeable, at the same time generating suspicion.

Luke-Treadaway-in-East-is-South-credit-Manuel-Harlan
Luke Treadaway

Willimon is too smart to give us good guys and bad guys, but the two programmers, Lena and Sasha, who have taken the dangerous step of “releasing” the AI programme might be a little more complex. Kaya Scodelario and Luke Treadaway both do well with the roles, but snippets of their relationship don’t add much (nor does an unnecessary Russian accent). The performers are strong enough to make us care for this young couple, who might even be in love, but, again, Willimon crams in detail that could be left aside.

It isn’t much of a spoiler to say Lena’s religious beliefs shape events – it’s easy to see the twist that she’s the mastermind and even to guess her eventual fate. Nonetheless, any mentions of blind faith are highlights, as is Willimon’s ability to reconcile contradictions (like those the play takes its title from). You might expect a little more scepticism, but sections connecting art and myth are well written and aided by David Ridley’s musical direction and some video design by Zakk Hein.

There are more problems with characters, though, and two really hamper things. A very standard Federal Agent (that Alec Newman manages to save) seems to belong in a different play. It’s odd that a government oversees the programme at all (and ironic most of us would feel reassured by that). Far worse is Lena and Sasha’s boss, a former academic so clichéd he could have been written by… no, I won’t say it. His insufferable word soup is dire and its delivery, by Cliff Curtis, is poor. The role is key, surely intended to help the audience out. But the character is a bad teacher, and the play suffers horribly as a result.

Until 15 March 2025

www.hampsteadtheatre.com

Photos by Manuel Harlan

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“As You Like It” at Shakespeare’s Globe

The potential for Queer interpretations when it comes to this Shakespeare romance is clear. Putting a spin on our heroine Rosalind’s role-playing isn’t new (Cheek By Jowl’s 1991 production is still my favourite example). But director Ellen McDougall’s production, which embraces all kinds of identities, is full of ideas and a hell of a lot of fun.

McDougall and her cast enjoy the venue. As well as the gender-fluid casting, there are plenty of touches, like the audience participation, that feel characteristic of Shakespeare’s Globe. The energy is high, especially from our lead lovers Rosalind and Orlando, played by Nina Bowers and Isabel Adomakoh Young respectively, who both bound around the stage. There’s strong comedy from Macy-Jacob Seelochan’s Celia (a very neat performance) and Alex Austin’s Jaques. Ambiguity is emphasised and difference played with to raise questions.

Transformation is the key: this forest of Arden is a place full of potential. The Queer politics are as broad as possible – the approach might be called holistic. Ideas about nature run through the show (lavender and apples are handed out to the audience). Much is made of Orlando’s servant Adam dying, with an effort not to throw “unregarded age” into a corner but see it as part of cycle of life. It’s a shame that, despite a strong performance from Stephanie Jacob, the moment isn’t moving. But the ideas are interesting and have a firm base in Shakespeare.

The music, which features heavily, isn’t a successful as it could be. Using pop songs in Shakespeare is common enough, but mashing up well-known tunes is complicated. Composer Michael Henry’s work is accomplished but proves too much for a cast who are not, primarily, singers. Max Johns’ costumes, though, are excellent, embodying the show’s intelligence and sense of rebellion. Johns transforms elements of historic clothing to play with gender and sexuality. Each outfit is bright, fun and smart in every sense of the word.

As You Like It isn’t as enlightened as most of us would like. There’s no ignoring misogyny or class and, in the end, order is (quickly) re-established. But if anywhere kicks against preserving Shakespeare just for the sake of it, it’s here. The production has additional text from Travis Alabanza to boost ideas about family and friendship. Efforts are made to emphasise joy and jokes. And, if things get too tricky, we’re told we are going to skip to the next scene! This is the night’s finest, winning moment. McDougall bring a sense of honesty – of working things out – that is exciting.

Until 29 October 2023

www.shakespearesglobe.com

Photos by Ellie Kurttz

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“Dear Elizabeth” at Theatro Technis

Theatregoers get used to professionalism and perfection. This blog is full of questions about choices and quibbles about generally (very) good shows. So the idea of a production with the cast coming cold to the script – with different performers every night – has a peculiar appeal. A deliberate move away from polish is novel and oddly exciting.

Visiting North London from the Gate Theatre, Dear Elizabeth is a presentation of letters between American poets Elizabeth Bishop and Robert Lowell. It is love story, of sorts, that takes the decades and complexities of an original romance in its stride. But the performers don’t know what the letters contain or what the ending will be. The result is a sense of adventure – and fun.

Game for the challenge the night I attended were performers Martins Imhangbe and Roberta Livingston. The run will pair an established actor with a recent graduate – a nice idea. But I suspect the readings will generally remind those of us who hate the idea of speaking aloud that actors – through their training – are a different breed! Imhangbe and Livingston were both assured and charismatic, and showing how much they were enjoying themselves proved contagious. Receiving packages of letters – including instructions – and props throughout, they always had the audience on their side.

Of course, there were more stumbles over words than usual. But with beautiful speaking voices and some magical ability to inject emotion into phrases off the bat, we almost need reminding that Imhangbe and Livingston hadn’t seen the text before. And here is where the skill behind the show comes in – that spontaneity is cleverly controlled.

Only the cast is unprepared! The carefully constructed script by Sarah Ruhl bring us close to the poets’ lives and love affairs with ease. All kinds of topics – focusing on health and work – are skilfully covered, providing considerable insight. And Ruhl has a careful eye on the ethical implications of her project with a brilliant section that has Bishop criticising Lowell for using another person’s biography in his art. 

Director Ellen McDougall, with the aid of designers Moi Tran, Jessica Hung Han Yun and Jon Nicholls (set, lighting and sound, respectively) retains a surprising degree of control. Paying special attention to the pace of the performance, factoring in time for the actors to work out what the hell they do next, without pausing the action, is brilliantly done. 

The performers and audience are together in taking cues at the same time – the music and lighting point us towards responses simultaneously. The concept behind Dear Elizabeth only goes part of the way to ensure the evening is a success. But making theatre so immediate – so in the moment – is especially timely after we’ve missed the stage for so long. The show also reminds us how varied the talents behind any production are. And I hope all involved take this blog as a kind of thank-you letter.

Until 18 September 2021

www.gatetheatre.co.uk

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“Prayer” from the Gate Theatre

Hands up, I like theatre sets that are expensive, literally flashy and preferably moving. But this online project from award-winning designer Rosie Elnile is impressive for the opposite reasons. From her work with Ellen McDougall in Notting Hill, Elnile has taken the lockdown as an opportunity. And that’s the first recommendation to check out her project.

Creating a digital space to explore and enjoy, Elnile takes us into her thinking about set design with a collection of writings, poems and pictures that have inspired her, along with commentary to listen to, provoke and educate. The thinking is deep, questioning the fundamentals and ramifications of her discipline.

It is striking, and topical, how concerned with the broadest of cultural trends and theories Elnile is. Also, how politically correct. The later isn’t intended to be derogatory… why wouldn’t you want to be right about politics? The environment and all manner of power structures are considered as Elnile makes structures of her own. The concerns are eye-opening, if anxiety producing. The happier point is that Elnile’s practice is energised by the problems. There is woe… but get up and go, too.

The project is original: Elnile is quick to describe Prayer as unfinished and clear that the work shows “impossible models”. And we’re used to perfection in the theatre! But both factors engender idealism and new thinking, centring on the process of making rather than an outcome. Prayer becomes a personal piece: Elnile’s artworks are presented and there’s a strong sense of commitments and passions.

Among all the caveats and concerns – which taught me a deal – there’s one point I’d take issue with. Describing prayer as a “kind of surrender” is interesting. But is Elnile doing justice to her achievements? As well as prayers of submission, there are also prayers of resolution. It is clear Elnile can problematise, with a steely eye on history and politics. But there is also resolve… for the future. The idea that design should facilitate care and compassion proves, well, exciting. The tone of the piece is meditative, but it is also motivating.

Until 24 July 2020

www.gatetheatre.co.uk

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“Othello” at the Sam Wanamaker Playhouse

This is an uncharacteristically poor production from one of London’s most gorgeous and surefooted theatres. Shakespeare’s tragedy of the Moor of Venice should be pretty foolproof – hard to mess up even if you muck about with it. But director Ellen McDougall overburdens the text with trendy touches while wilfully ignoring the poetry of the play.

From the moment the cast walk onstage to don their minimalist costumes (good work by designer Fly Davis) it’s clear McDougall wants to do something new. We have pop songs a cappella, ‘selfies’ and re-writing Cassio as a woman. All this could be exciting, and there’s clearly no shortage of ideas, but the ramifications of each addition are underdeveloped. McDougall surely has her reasons, but it is too hard to see what they are.

Which brings us to rhyme. Working with dramaturg Joel Horwood, there are stumbles due to the change of Cassio’s gender. Adding the odd joke or altering Shakespeare’s insults can be justified but add little here. Maybe tackling the text should have been bolder – presenting something new, in the spirit of last year’s Cymbeline, transformed into Imogen, outdoors at the Globe? McDougall’s cast adopt a bland approach to the verse. Presumably an attempt to make it sound natural – it actually makes it dull.

Natalie Klamar’s Desdemona suffers most from this prosaic delivery – she whines. Joanna Horton’s Cassio, a transformation that should offer such exciting potential, is humdrum. Peter Hobday’s Roderigo fails to deliver comic appeal, and he is even worse when performing as Duke Lodovico, entirely lacking charisma. Sam Spruell’s Iago comes close to making his role work – a gruff delivery denies Iago the intelligence to make him truly frightening but at least he holds the stage. The notable exceptions are Thalissa Teixeira, who develops her Emilia nicely, and the lead – Kurt Egyiawan – who thankfully, sounds wonderful. At a best guest, it’s a clumsy attempt to set up a contrast between Othello and everyone else. But it leaves far too much for Egyiawan to do and the majority of the production is just tedious.

Until 22 April 2017

www.shakespearesglobe.com

Photo by Marc Brenner