Tag Archives: Kurt Egyiawan

“Mood Music” at the Old Vic

Ben Chaplin plays a successful record producer and Seána Kerslake an up-and-coming singer-songwriter who battle over creative pre-eminence in Joe Penhall’s new play. The roles make for good viewing: the unbelievable arrogance of Chaplin’s Bernard is as entertaining as the vulnerability of Kerslake’s character, Cat, is moving. And the contrast between their approaches to music, focusing on his obsession with “precision”, are dramatically effective. As their disagreements exacerbate tensions, and come to include undertones of sexual exploitation, the mood turns increasingly sour and the play comes to comment on our times. Given The Old Vic’s recent history, there’s piquancy to hear such issues here. But, although it isn’t Penhall’s fault – his big theme is who and how someone might own creativity – the topic of sexism in the arts is raised so obliquely it is discomforting.

The play is as much about the music industry as it is about the musicians. That this might excuse behaviour is offered as an explanation too many times. But Roger Mitchell’s direction and Hildegard Bechtler’s impressive set – with the stage reaching out well into the auditorium ­– make the connections between those making music and those behind the scenes clear. The creatives are overwhelmed, each having their own psychotherapist and their own lawyer. There are strong performances (from Pip Carter, Kurt Egyiawan, Jemma Redgrave and Neil Stuke), but all the characters are clearly there to prove points. A lot of what’s said – about artists and mental health or intellectual property and justice – is funny, a little of it thought provoking. Unfortunately, nearly all of it is predictable.

The writing, however, is stunning: the text has an impressive musicality of its own, conversations interweave and tone varies constantly. But, with depressing prescience, it’s all too easy to see what’s coming next. A flippant complaint from Cat is propelled into a criminal issue. That this is instigated and escalated by professionals who could potentially profit from her misery is an uncomfortable suggestion. There are some brave opinions expressed, alongside some pretty awful ones, and Penhall puts drama on the flesh of issues in a way that newspaper headlines can’t. But, despite its sharp subject matter, Mood Music is flat. For all the importance of these topics, the danger is that they don’t make good drama. For a general audience these trials and tribulations of the creative industries come close to solipsism; no matter how well Penhall vocalises this, it is a dreary sound.

Until 16 June 2018

www.oldvictheatre.com

Photo by Manuel Harlan

“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

“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.

Measure-006-crop
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