Tag Archives: Shakespeare

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“A Midsummer Night’s Dream” at the Barbican Theatre

Director Eleanor Rhode’s production of Shakespeare’s comedy won rave reviews earlier this year at Stratford-upon-Avon. The show certainly looks great. Designer Lucy Osborne populates a bare stage with enormous bead curtains and huge paper lanterns that form a canvas for Will Duke’s excellent video design and Matt Daw’s accomplished lighting. But, regrettably, while it’s a treat for the eyes, the rest of the play offers little pleasure. I’m confused about all those starry reviews.

Rhode does have great new ideas. There are moments of tension between warring couples (Oberon and Titania, Demetrius and Helena) that show the depth of their relationships. Having Titania’s attendants appear as lights is nice and, like several illusions masterminded by John Bulleid, well executed. There’s also an excellent end to Act 3, Scene 2 when Puck leads the lovers “up and down”. Instead of seeing actors pretending not to notice one another, they appear fleetingly one by one, giving the scene extra energy.

These highlights are exceptions, though, within a production that feels flat. Act 1 doesn’t seem to interest Rhode very much. It’s horribly rushed, with nearly every line coming at breakneck speed, so it is difficult to work out what’s going on. The speed causes lots of problems later, especially for the quartet of Athenian lovers (energetically performed by Nicholas Armfield, Ryan Hutton, Boadicea Ricketts and Dawn Sievewright), who are hard to distinguish from one another or care very much about. 

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Oddly, delivery becomes slower as the action speeds up. Here, the comedy suffers and the cast struggles (a few actors are breathless). Only Matthew Baynton’s Bottom seems comfortable working at the pace, giving a confident, if broad, performance that is credible enough. A lot of laughs come from the performers’ gestures rather than their lines, which are predictable and not as well delivered as they should be. We’ve all seen ruder and funnier chinks in walls.

Just as big a problem is how one-dimensionally all the characters are depicted. Might we feel a little sorry for Bottom, or even repulsed by him? Baynton’s version is strictly for laughs. His fellow hempen homespuns fade into the background (although there are nice nods to horror films in their play within the play). Even Adrian Richards makes more of a mark as Philostrate (he’s the Master of the Revels). 

Worst of all are the fairies, who should provide fascination, typified by Katherine Pearce’s Puck. Pearce presents an amiable character (and she has a lovely singing voice), but there’s no mischief and certainly no sense of danger about the role. Of course, there doesn’t have to be. Not every reading of the play needs to take literary theory into account. But losing any thrill or mystery is a mistake. For all the characters, there’s too much nuance lost. This dream is not a nightmare, but it’s forgettable.

Until 18 January 2025

www.barbican.org.uk

Photos by Pamela Raith

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“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

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“Coriolanus” at the National Theatre 

Clear, sensible ideas drive Lindsey Turner’s new production. Giving Shakespeare’s Roman history play an epic feel is natural enough and is achieved with style through impressive music (Angus MacRae) and design. Part of the latter, by Es Devlin, is a stage full of Hellenistic art, displayed as if in a museum, and through these objects the production comments on the dangers of glorifying militarism.

When it comes to the titular hero, Turner is carefully noncommittal and her leading man, David Oyelowo, keeps us guessing. We’re supposed to admire Coriolanus, yes? Plenty do, even though he is, literally, revolting. As the play moves between the military and civic spheres, Oyelowo gets as much complexity out of the role as is possible. It is a commanding performance.

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Pamela Nomvete

The military scenes are strongest – the fighting exciting – showing this martial culture superbly. Cominius, the general who delivers many a panegyric about his mate, becomes a major role through Sam Hazeldine’s skill. And let’s include the mum here! Pamela Nomvete, one of my favourite actors, is excellent as Volumnia. Her exaggerations about honour and glory raise a laugh nowadays, but Nomvete’s brilliant performance makes them sincere, taking us into the world of the play.

Showing us politics is less successful, although the action is swift and easy to follow. Maybe one problem is that the “many headed multitude” seems short on the ground (odd, since that isn’t the impression with battle scenes). The costumes are a bit of a puzzle, giving the plebeian Brutus and Sicinius (well performed by Jordan Metcalfe and Stephanie Street) an odd 1970s TUC air. Their political opponent also comes off badly, Peter Forbes’ Menenius is a comic-book toff whose wit tires rather than entertains. To be fair, it’s hard to get much subtlety here. The play takes its lead from Coriolanus’ own view that people are either “crows” or “eagles”. At least Turner doesn’t show favourites.

The political scenes are supposed to be uncomfortable – how the mob is manipulated is a warning. But the production is lucky it has Oyelowo to fall back on. He does a great job of balancing his character’s contempt with a dignity that comes from following his principles. We are allowed to wonder if Coriolanus is trapped in his sense of himself. Has being named after the city he conquered gone to his head? Is he one of those men said to be a victim of toxicity? That’s a tough sell, if an interesting one. But in the end, Coriolanus himself is presented as one of those statues – the kind of fallen warrior who was never a Roman and who was, ironically, usually nameless.

Until 9 November 2024

www.nationaltheatre.org.uk

Photos by Misan Harriman

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“Othello” at the Sam Wanamaker Playhouse

Last year, a version of Shakespeare’s tragedy with three actors taking the role of Iago was a theatrical highlight for me. Now we have two performers taking the title role in the play, a move masterminded by director Ola Ince. The idea works well, and the execution is superb. Unfortunately, other changes Ince has made are less successful.

Ken Nwosu takes the lead and is joined by Ira Mandela Siobhan as ‘Subconscious Othello’. It allows Nwosu to highlight references to how calm and controlled his character is – just one insightful touch in an intelligent performance. Meanwhile, what’s going on in Othello’s mind is revealed in a literal fashion. This subconscious self gets to speak, but the role is mostly about movement – the result is stunning. The emotions Siobhan conveys – with astonishing speed – cover huge ground. The murder scene is especially poignant, as this second Othello, wearing the suit from his wedding, is bruised and battered. It really is a brilliant conceit.

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Ralph Davis

Other ideas from Ince are just as bold. But while abridging the play is done well, additions and updates stumble. This Othello is in the Metropolitan Police, he is the ‘guvnor’, and he’s battling a gang. Trouble is, it all comes close to cliché. There’s a similar problem for Cassio when we learn he went to Eton, leading to an unhappy performance from Oli Higginson. Poppy Gilbert, who takes the role of Desdemona, ignores the fact she’s said to be from Chelsea and fares better. As for Iago, Ralph Davis’ performance in the role is powerful and entertaining. But might identifying this “demi-devil” as the only white working-class male around be misconstrued?

Of course, it would be strange if a director didn’t interpret Shakespeare. The intentions here are sincere and the concerns valid. But the implications aren’t explored enough. There’s nothing wrong with changes, but they feel rushed. Maybe more is needed? Not least to iron out incongruities. Religion in the play is ignored – why not get rid of references rather than leaving them there with the potential to distract? And why update only some, and not all, of the language?

Moments when the production jars disappoint, as so much of the action is controlled very well. The excellent music in the show plays a big part, with brilliant compositions by Renell Shaw. And the way police radios pick out the play’s racist phrases is a strong touch. Ince has an approach to scenes without dialogue that is fascinating. You might consider them as akin to montage – swift, insightful and exciting. It’s interesting to find such a cinematic approach in a space like this. But, with such a surfeit of ideas, a lot ends up getting lost.

Until 13 April 2024

www.shakespearesglobe.com

Photos by Johan Persson

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“The Merchant of Venice 1936” at Wilton’s Music Hall

This touring production, in association with the RSC, the Watford Palace Theatre and Home Manchester, has already received deserved acclaim. But since director Brigid Larmour has relocated the action to a specific year in the East End of London, seeing the show in Grace’s Alley is extra special. Video work from Greta Zabulyte showing the battle of Cable Street (just around the corner) is chilling. At the end, an ovation is built into the production as we are invited to stand against fascism just as East Enders did 87 years ago.


Given current tragic events, it is sad rather than surprising that the show has extra power. Nonetheless, this abridgement of Shakespeare is excellent. Although less than two hours I didn’t miss much. You might say some romance has gone – or, rather, that nonsense with riddles and caskets is handled swiftly – and the role of Shylock’s daughter Jessica does suffer. But the focus on antisemitism here is clear and bold. The extent to which the establishment that money-lending Shylock is pitted against encourages hostility is a focus – hatred of the Jew is literally institutional. Casual prejudice is highlighted and often painful to watch.

The big twist is to see Shylock’s intended victim Antonio, often viewed as heroic , as an Oswald Mosley figure and it is jaw dropping. It is a marvel that a simple black shirt can change the play so much. Raymond Coulthard, who takes the role, makes a great villain. But all the characters become tainted by hate, including Hannah Morrish’s excellent Portia, who we want to like, but whose contempt of Shylock is disturbing. Also of note are Xavier Starr and Jessica Dennis, who play two relatively small roles that they make powerful, showing a mix of ignorance, spite and violence.

Of course, the star is Shylock, played by Tracy-Ann Oberman. A strong accent, impeccably delivered, emphasises her outsider status. While there is defiance, there is also a depressing resignation about the prejudice suffered. Larmour and Oberman are too smart to make Shylock a sympathetic figure. But we come closer to understanding the rage the character carries around – and how the chance at revenge is so quickly taken. A speech after the applause might explain why this performance is so brilliant – Cable Street is close to Oberman’s heart. At the risk of making a cold observation about such an impassioned performance, Oberman reminds us how live – as well as raw – theatre can be.

Until 11 November 2023 and then on tour until 10 February 2024

www.merchantofvenice1936.co.uk

Photo by Marc Brenner

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“Othello” at the Riverside Studios

It’s easy to read Shakespeare’s tragedy as a play about its villain, Iago, as much as the title character. But this new version from director Sinéad Rushe has three performers against one! Michael C. Fox, Orlando James and Jeremy Neumark Jones all play Iago and embrace the project as a team. The idea is interesting and the result exciting. 

The trio aren’t taking turns as Iago, they appear on stage, mostly, at the same time. They alternate the lines, or speak in unison. The results fascinate. It’s especially effective for soliloquies, suggesting an internal dialogue. And it aids Iago’s often feeble arguments as the three gang up on victims. The idea also works well for crowded fight scenes or when Cassio is drunk. Iago, the “demi-devil”, becomes supernatural as he can be in so many places at the same time. 

“Dull not device by coldness and delay”

The production even takes advice from Iago! The abridgement prevents distraction from the concept. And a good deal of passionate torment is clear from all characters. Rushe has a firm hand and bold approach that makes action clear and focused. There is an imbalance – how could there not be – and, of course, it helps to know the play well. But the focus is intentional, the idea proves fruitful and the execution is strong.

Martins Imhangbe and Rose Riley

It should be stressed, the production has an excellent Othello: Martins Imhangbe is dignified and moving. Imhangbe brings admirable restraint to the role and is a powerful stage presence. His Desdemona – Rose Riley – is great too, passionate and making every line fresh. Fine performances from Rachel-Leah Hosker and Ryan O’Doherty, taking four roles between them with apparent ease, also deserve mention. 

Surprisingly, the eye-catching triple casting of Iago isn’t the only highlight of the show. Just as impressive is how this Othello sounds. Not only is the delivery of the lines accomplished, the sound design from Ali Taie is super. A variety of effects startle, intrigue, and aid the audience. We even get to see how some are achieved: there’s a great sea crossing scene and each Iago makes a show of using their microphones. To top it all, original music from Fox, including a gorgeous Willow Song beautifully sung by Riley, is excellent, once again providing pace and emotion. There isn’t a dull moment with the device in this production.

Until 29 October 2023

www.riversidestudios.co.uk

Photos by Mark Douet

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“Macbeth” at the Southwark Playhouse

Flabbergast Theatre’s production of Shakespeare’s tragedy is a brave failure. The show is full of arresting imagery and committed performances – it is bold from start to finish. But a central conceit is hard to pin down and uncomfortably constraining… Macbeth in a madhouse seems close to describing what’s going on. That the idea turns out less interesting than it sounds is a shame, given the tremendous effort of all involved.

Linking Macbeth to insanity isn’t a bad idea. Fits are mentioned, there are famous hallucinations, and the banqueting scene is ripe for such an interpretation. Can the witches be mad? Of course, they’ve been everything else in various productions. And the suggestion that Banquo’s murderer is schizophrenic is a good touch. But the whole idea does, forgive me, straitjacket the play. It’s scary and unpredictable (an achievement of sorts) but it is hard to take the drama seriously as connections between the characters are severed. While the ensemble work together well, the characters seem isolated in individual trauma.

Henry Maynard’s direction is aided by work with movement from Matej Majeka which is often interesting.  The whole ensemble impress, not least with some of their backbends. Everyone is on stage a lot and never loses focus. The musical arrangements from Adam Clifford make great use of percussion and the ensemble are a good choir. The small amount of puppetry that features is worth noting. But every aspect of the show is exaggerated and that turns into a serious flaw.

There are technical problems too. The production fails to consider the venue’s thrust stage so that two thirds of the audience are ignored too often. Above all, hearing what anyone is saying is very difficult. Taking the lead role, Maynard tries hard but it is really only Kyll Thomas-Cole’s Malcolm we get to hear properly. There’s no way you’d know what was going on without a thorough knowledge of the play and while the company can be proud of its energy, that makes the effort here wasted.

Until 8 April 2023

www.southwarkplayhouse.co.uk

Photo by Picturegrafix

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“Othello” at the Lyric Hammersmith Theatre

Frantic Assembly’s inimitable style gets great results in their acclaimed version of Shakespeare’s tragedy. Director Scott Graham’s production manages to please those who love the text and those new to it. A brisk, clear edit makes the play approachable, while the company’s dedication to physical theatre offers insight for those who have seen the play many times.

Famous moments are, mostly, present and correct. Omissions are interesting (Othello’s fit doesn’t happen) while the military setting is loosely applied. But themes of jealousy and revenge are presented with startling clarity. The brisk action creates momentum, while the poetry is still delivered with satisfying technique.

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Michael Akinsulire

Michael Akinsulire takes the title role and gives a magnetic performance with plenty of threat that is careful to preserve the character’s intelligence. You believe Othello is a good leader and strategist despite the way he is manipulated. Akinsulire’s is a generous performance that benefits from the show highlighting other roles to great effect.

The three female roles of Bianca, Emilia and Desdemona are strengthened by strong performances from Hannah Sinclair Robinson, Kirsty Stuart and Chanel Waddock. Desdemona’s final scenes are distressing to watch but it seems preferable that all three women put up a fight (quite literally in Waddock’s case). Graham’s detailed work with Joe Layton’s laddish Iago is insightful – there’s less sense than usual that he enjoys his plotting, which makes him all the more frightening. As for the dupes Iago uses: Felipe Pacheco’s Rogrigo adds humour while Tom Gill’s scene as the drunken Cassio is brilliant.

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The key to the success of Gill’s tricky Act Two Scene Three is movement. It isn’t just that the extended acrobatic dancing makes more sense of his inebriation than a glass or two of wine – who wouldn’t get dizzy – the machismo enacted creates the air of intoxication. The technique works superbly in scenes of violence as performers pose aggressively or weave around and over each other. And the choreography is also excellent for scenes of romance – this Othello is sexy.

For all this praise for those working hard on stage, the star of the show might be designer Laura Hopkins. Setting nearly all the action in a bar (you can almost feel the sticky floor) leads to the production’s memorable pool table, more leapt on and over than played upon. The walls, which concertina in and out, creating corners perfect for plotters, are used to fantastic effect. The combination of style with substance makes this production a winner.

Until 11 February 2023

www.lyric.co.uk

Photos by Tristram Kenton

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“Hamlet” at the Southwark Playhouse

Ricky Dukes and the excellent Lazarus Theatre Company have taken inspiration for their new Shakespearean adaptation from work with acting students. The much-edited play (95 minutes long) is seen only from the perspective of younger characters. The result is surprising, shocking and exciting.

Elsinore becomes a mix of rehearsal room and therapy session. Sorcha Corcoran’s design is constantly rewarding. Alongside Stuart Glover’s lighting, the set is the key to investing such a well-known play with a fresh feel. Given the stripped-back props, and costumes that are sports gear or made of paper, the imagery is fantastic. Lazarus has a knack of creating scenes that burn themselves into the memory. As for including incense, I want some in every production of Hamlet from now on, please.

Remember, the ‘adults’ don’t appear in the flesh. While roles that are of indeterminate age are included (leading to a lovely performance from Kalifa Taylor as one of the players), authority figures are a disembodied voice from above. It’s creepy. Having Micha Colombo issuing sinister instructions and doing such a great job as both Claudius and Gertrude adds a dystopian atmosphere that’s in keeping with Jovana Backovic’s strong sound design.

So, what does this focus result in? The clear generational divide in the source material is highlighted. You need to know the idea and the play well before you go, something I’d normally criticise. But it is evident that the kids are not all right. Mental health – in particular suicide – is the main concern. This might be predictable, but you can’t say it isn’t present in the original. An effort is made to highlight all nine cast members in turn – we sense each deliberating over every action. You are left wanting more (from Alex Zur’s beautifully voiced Horatio, for instance), but the ensemble-led approach brings many thought-provoking moments.

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Michael Hawkey

Appropriately, Michael Hawkey, who takes the title role, embodies the production’s fresh approach and gives a remarkable professional debut. An angry young man who is also petulant, Hawkey’s delivery of the lines is confident and fluid. As a strong foil. Lexine Lee’s restrained Ophelia (I’ll admit this is to my taste) grounds the show. Director Dukes has firm ideas about her death that add to the production’s determined, confrontational approach.

This is radical stuff and, of course, it doesn’t all work. The Mousetrap scene tries too hard to inject humour (although Juan Hernandez and Kiera Murray do a brilliant job). I’m not sure why Yorick’s skull is taken from a fridge? To fit with the clinical feel? The duel is disappointing. Maybe Hamlet’s final action is a touch too far? And it’s a puzzle why Fortinbras isn’t mentioned. But the show raises questions in a prodigious fashion.

It turns out that the “safe space” promised is not delivered. This is Hamlet on a loop – like the circle performers sit in, we can go around again. It’s a chilling nod to the play’s versatility and reinvention. That Lazarus has given us a Hamlet unlike any other is an achievement. That the piece raises so many questions about the play and playmaking itself is astounding.

Until 4 February 2023

www.southwarkplayhouse.co.uk

Photos by Charles Flint

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“Much Ado About Nothing” at the National Theatre

Simon Godwin’s solid production of Shakespeare’s comedy is perfect for the summer. Setting a play about confusion and miscommunication in a hotel add a farcical, holiday vibe. With live music and an intelligent nod to the play’s self-referentiality, it all adds up to a fine show. The casting of John Heffernan and Katherine Parkinson makes the evening well above average.

Heffernan and Parkinson are great as the enemies-to-lovers Benedict and Beatrice. From the start, Benedict’s man-about-town act as a confirmed bachelor is only skin deep – which adds to the humour. Heffernan ensures we can tell Benedict is a sweet cynic. As surely everyone’s favourite Shakespearean heroine, Parkinson is suitably spiky but brings an interesting edge to the role. Together their “merry war of words” is fantastic.

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Ioanna Kimbook and Phoebe Horn

It may be ungenerous to point out that the leads’ comic timing is considerably better than the rest of the cast – but it is noticeable. There is firm support for them, especially a good Don Pedro in Ashley Zhangazha, who makes plans for mischief believable. The play’s second love story has a sweet Hero in Ioanna Kimbook and her maid manages ever better – Phoebe Horn makes the most of Margaret’s every moment.

It’s all jolly and it looks great – Anna Fleischle and Evie Gurney’s set and costume designs are a pleasure – but it might be a little slow? A lot of pace is lost with Dogberry, a head of security here, despite David Fynn’s efforts. (And if you want better malapropisms, then head next door for Jack Absolute Flies Again.) The curtain for the interval falls at the moment of the play’s nasty deception, when the marriage of Hero and Claudio is put at risk by the plotting villain Don John. This can be the point where you lose patience with the play (or is that just me?).

Happily, and unusually, the action then takes off. Heffernan is very good at Benedict’s macho moments and Parkinson shows us how deeply Beatrice feels. Kimbook also comes into her own (especially during a scene change).

It’s still not clear why Hero’s lover Claudio, who has treated her so badly, is forgiven (Eben Figueiredo, who takes the role, seems puzzled, too). I guess that’s really Shakespeare’s fault. Godwin deals thoughtfully with the play’s flaws. After the tension, the relief of a party works well. Even Dogberry, recast as a lounge singer, is welcome. The celebration may be brief but as a finale it’s fantastic.

Until 10 September 2022

www.nationaltheatre.org.uk

Photos by Manuel Harlan