Tag Archives: Ruby Bentall

“All’s Well That Ends Well” at the Sam Wanamaker Playhouse

While Shakespeare’s text mentions life as “a mingled yarn, good and ill together”, it is easy to see why a modern audience might focus on the unhappier parts of the play. The orphaned Helen’s adoration of noble-born Bertram and his behaviour overall are hard to stomach. Director Chelsea Walker’s production takes a forceful approach to the piece that is successfully invigorating.

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Ruby Bentall

Walker’s sympathies are clear – and who’s going to argue with them? Still, it is an achievement to make the women in the play stand out as she has done. There’s a superb starring role for Ruby Bentall as Helen and her performance is great. Even if we can’t fathom why she’s so in love, her determination and scheming fit in a production that feels like a thriller. Bentall is also a strong comedian, getting laughs from some dark humour. The production is notable for making so much of her accomplices in plotting to fool Bertram – Catrin Aaron and Georgia-Mae Myers – who are excellent at showing a moral dilemma while injecting a sense of risk.

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William Robinson and Kit Young

While the virtue of the women was, probably, what characterised them for Shakespeare’s audience, nowadays it is their intelligence. Debates within the play are injected with excitement. The contrast with the men is startling. They seem a little…dull. Or, to be generous, enthralled by their own machismo. Exciting talents Kit Young and William Robinson take the parts of Bertram and his sidekick Paroles. Adding the suggestion the two might be lovers is eye-catching, but it is when Paroles abandons his pretence at being honourable that both characters come into focus. It’s a captivating performance from Robinson as his character acts as a mirror to Bertram’s ‘heroism’ and calls it to account.

Just so we don’t focus on youthful indiscretions in the play (wouldn’t that be a convenient excuse?), Walker is tough on older characters, too. Siobhán Redmond, who is excellent as Bertram’s mother, is petulant. And the sickly king, played by Richard Katz, and Emilio Doorgasingh’s Lafew both show cantankerous abuse of their power. These are the evening’s poorer performances (their characters look a little silly). But Walker makes her points well: less happy ending, more sorry affair. A direct, intelligent approach to the play, executed with few tricks and admirable care, produces great results.

Until 4 January 2025

www.shakespearesglobe.com

Photos by Marc Brenner

“The Rubenstein Kiss” at the Southwark Playhouse

Inspired by the case of Ethel and Julius Rosenberg, who were executed for treason in 1953, James Phillips’ play about politics and betrayal is a weighty drama. Creating a fictional parallel to real life events focuses the themes of individual responsibility and ideology. Setting the action over three decades allows an extrapolation on the legacy of events. This new production from director Joe Harmston makes the most of viewing two generations – the traitors and their children – resulting in a strong revival of a rich and complex play.

Harmston’s direction is luxurious. It feels as if equal time is given to the three couples: Jakob and Esther Rubenstein, her brother David and his wife Rachel and also their heirs, Matthew and Anna. The stories mingle effectively. Harmston might make a little too much fuss over scene changes and his traverse staging add less than desired but the issues of loyalty and hope are clear, while justice is done to a text full of argument and emotion. Best of all, Harmston has secured tremendous performances from his cast.

Ruby Bentall and Henry Proffit play the lead couple and inject an impressive energy into their political discussions. Sean Rigby takes the part of Esther’s brother and betrayer. Rigby develops his role well as the character becomes “haunted” by unwanted fame and he is ably supported by Eva-Jane Willis as Rachel who is consistently superb. The four are convincing as a family unit and the love each couple have for one another is utterly compelling. It’s a bit of a puzzle why the younger roles end up in a sexual relationship as well, surely an unnecessary complication? Nonetheless, Katie Eldred saves her weaker written character of Anna, whose suicide attempt is poorly handled by Phillips. And Dario Coates is excellent as Matthew, the impassioned son of the Rubensteins, who decides to fight to clear the family name.

Dario Coates (Matthew) & Katie Eldred (Anna)

The influence of Arthur Miller and his McCarthy inspired 1953 drama The Crucible lies heavy on the text – it is explicitly referenced and cerebrally employed. Proffit makes Jakob a powerful surrogate for Miller’s hero John Proctor. Stephen Billington’s FBI Agent, who interrogates and then tries to save Jakob and Esther, is an efficient take on the previous play’s Reverend Hale and points us towards interesting questions. The fanatics vision is brought into focus; Bantall’s eyes as she faces her martyrdom in the electric chair are mesmerising. Phillips appreciates that the “gift of empathy”, discussed as an inspiration that can cross generations, is also a danger and can be poisonous. The Rubenstein Kiss provides salutary insight reached through care and intelligence.

Until 13 April 2019

www.southwarkplayhouse.co.uk

Photos by Scott Rylander

“Grief” at the National Theatre

The way Mike Leigh makes a play is unlike anyone else. His new work, Grief at the National Theatre, was devised in collaboration with his cast and crew, in secret and from scratch. The result is something very special indeed.

The story of a 1950s war widow and the life she shares with her brother and only child is grim. The period detail of repressed emotion is familiar ground but Leigh presents it devoid of cliché – we see the price paid for such control and it isn’t pretty.

The long period of gestation that made the play results in an investment from the cast that produces magnificent performances. Lesley Manville has created one of the finest roles of her career: continually on brink of tears, the way she holds back is astonishing. Joined by Ruby Bentall, in a remarkable performance as her troubled daughter, as well as a host of other Leigh regulars – this is one of the finest ensemble you will see onstage in London at the moment.

Ironically, the quality of the acting makes Grief very hard to watch. For a play obsessed with death there are some very funny lines, but there is a sting in the tale: each laugh brings us closer to the characters, makes them seem unbearably real. The sense of foreboding Leigh manipulates in the audience becomes cruelly oppressive.

Be warned. The dark denouement that ends Grief is shocking and deeply disturbing. Manville’s final break down is harrowing: occurring offstage the effect is akin to Timanthes depiction of Agamemnon, covering his face to hide his pain, and all the more harrowing for being unseen. The plays rejection of any resolution makes it one of the most powerful nights at the theatre you can imagine.

Until 28 January 2012

www.nationaltheatre.org.uk

Photo by John Haynes

Written 27 September 2011