Tag Archives: Louise Templeton

“Macbeth” at Temple Church

Touring Company Antic Disposition’s visits to London are a summer highlight and this new production of Shakespeare’s tragedy shows their characteristic skill and careful intelligence. Without fuss, directors Ben Horslen and John Risebero present a quality show with classy delivery and smart touches to make you consider the text anew. Risebero’s design provides a Victorian vibe that fits with the play’s supernatural content and adds a stylish, surprisingly reserved edge to all the torment in the story.

Harry Anton and Helen Miller as Macbeth and Lady Macbeth
Harry Anton and Helen Millar.

Taking the lead is Harry Anton, whose Macbeth is as malicious as he is murderously ambitious. He’s also surprisingly nervous, wringing his hands even more than his wife does. It’s a sensitive portrayal that, along with a dashing stage presence, creates a challenging amount of sympathy for the tyrant and works very well for those famous soliloquies. His Lady is good too; Helen Millar gives a detailed performance that shows an understanding of her character’s development and aids the tension in the play. The couple’s all-important chemistry is spot on: their sexual attraction established so well that it becomes poignant when Lady Macbeth sees her husband’s passion alter.

Bryony Tebbutt, Robyn Holdaway and Louise Templeton.
Bryony Tebbutt, Robyn Holdaway and Louise Templeton.

The witches are centre stage in this production, with Bryony Tebbutt and Robyn Holdaway (who also do well doubling up parts) led by Louise Templeton. All three are damn creepy – Holdaway gives a smile to send a shiver down the spine – but cleverly so. The brilliant idea here is to cast the witches as servants. They become onlookers to events and have more lines than usual, handing out drinks or standing with Macbeth on the battlements. Their cauldron is a tin tub for cleaning bloody sheets and they hold a séance complete with a flying table. Meek maids one moment, scary the next, they make this Macbeth gripping. An understated trio, as witches go, their quiet control actually makes them more frightening.

Harry Anton and Nathan Hamilton with the witches.
Harry Anton and Nathan Hamilton with the witches.

Horslen and Risebero aren’t afraid to throw in a few bumps in the night and piercing screams to make you jump (I did, twice), all aided by the venue’s atmosphere and excellent acoustics. And the fight direction from Bethan Clark is also strong – it’s clearly a strength for Anton, and his final scene with Andrew Hislop’s commanding Macduff adds to the excitement. There isn’t a scene wasted: Nathan Hamilton makes more out of Malcolm than is usual and there are even interesting ideas for the Porter’s scene that Chris Courtenay gives his all in. But it’s those witches that make the production memorable – playing so expertly on Macbeth’s vanity and superstition… and ensuring that he won’t be the only one to have sleepless nights.

Until 7 September 2019

www.anticdisposition.co.uk

Photos by Scott Rylander

“Richard III” at Temple Church

Toby Manley plays a super-posh version of Shakespeare’s super villain in Antic Disposition’s new production. The crystal- clear diction is a delight, the suave air (and a bow tie) adding to a new take on the despicable king that is well constructed and carefully delivered. The description of Richard as an “intelligencer” is the key, with Manley securing the role’s infamous charm and emanating an air that he might work for the secret service. As a double agent, of course – he’s almost your cachinnating villain at one point. And I’ve wanted to use that word for ages. Thank you Mr Manley.

This Richard makes for a great show. It’s a shame that those around him seem a little too foolish. A group of Ya Ya Yorkists, with a Noel Coward dressing gown and pearls, if not furs, are too easy to overcome. And several performances are too broad and unconvincing as a result. But Manley is frequently restrained (another reason he stands out), suggesting the Bullingdon Club with subtlety. And Jess Nesling impresses as a Queen Elizabeth who just might refrain from falling for Richard’s plans. At the opposite extreme, Joe Eyre’s exaggerated performance works well. As with Richard, his Buckingham gives the sense of power played out as a public school boys’ game.

A modern dress setting is made much of by the directors Ben Horslen and John Risebero, the latter of whom also designed the production, but their clever touches seen unnecessary. And those aiming at humour – Richmond’s yoga and the Mayor of London carrying a Starbucks cup with Boris written on it – don’t deliver. The music, composed by James Burrows, doesn’t help either, with a confusing mix, close to pastiche, arriving abruptly. The frustration is that Horslen and Risebero don’t need any of this – these guys really know what they are doing.

The cuts made to the play are sensible. The production is a model of clarity. And the doubling up on parts is well done. Although a touring company, the performers seem at home in this magnificent space and the traverse staging is handled superbly. The simple device of having Richard’s victims band together – as a body watching throughout the play and attacking him during his dream on the eve of battle (including great work from lighting designer Tom Boucher) – is spine tingling. The disparate group of those who have crossed him is led by Louise Templeton, who does fine work as spectral Queen Margaret, recruiting the dead to her side one by one. Take away some fussy touches and this is good, solid work that combines into a strong production.

Until 9 September 2017

www.anticdisposition.co.uk

Photo by Scott Rylander