Tag Archives: Shakespeare’s Globe Theatre

“The God of Soho” at Shakespeare’s Globe

6 November 2014 Edward Lukes Leave a comment

The 18^th century philosopher, Bishop Berkeley, posited that the world only exists in the mind of God. So if something goes wrong with the celestial cerebellum you’re in trouble – which is what happens in Chris Hannan’s new play The God of Soho, resulting in a mind-boggling – and ambitious – new drama.

Big God (the inimitable Phil Daniels) resides in a heaven in disarray. His daughter, the Goddess of Love, the excellent Iris Roberts, has an unrequited love for New God (a brave performance by William Mannering). The couple descend to earth where they mingle with Essex celebrities such as Natty, a commendable Emma Pierson, and the unhinged homeless on the streets of Soho. All of Hannan’s self-absorbed characters are searching for something real. However, this is far more interesting than merely an exploration of celebrity culture – these are people searching for a “raw skinned, butcher naked” reality.

Hannan appears to have none of the self-doubt that affects his characters. It is difficult to be bawdier the Elizabethans (this is the Globe, after all) but The God of Soho manages just that. It is positively filthy in every way: verbally and visually, with the laughs relying on obscenity. Nor does Hannan shy away from big themes. He juggles plenty of abstract concepts with a surfeit of allusions and enough topicality to make your head spin. The really impressive trick is the way in which he deals with so many ideas while creating characters real enough to care about.

Director Raz Shaw does a great job of marshalling Hannan’s text and injecting plenty of debauchery. Both writer and director have an eye for involving the crowd, essential at The Globe. With appropriately eclectic music provided by King Porter Stomp, The God of Soho is often a riotous affair. The production has a distinctive vision that is also disconcerting. Certainly, the world inside Hannan’s mind is a weird and wonderful place.

Until 30 September 2011

www.shakespeares-globe.org

Photo by Simon Kane

Written 2 September 2011 for The London Magazine

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“Doctor Faustus” at Shakespeare’s Globe

5 November 2014 Edward Lukes Leave a comment

Thanks to the film Shakespeare in Love we think of Christopher Marlowe as more celebrated in his own day than Shakespeare. Now, of course, his work is performed far less frequently, making any production an event, especially when Shakespeare’s own Globe conjures up its first production of Doctor Faustus.

Director Matthew Dunster does his best to make the story of the man who sells his soul to the devil resonate with a contemporary audience. The emphasis is on magic rather than religion – a sound move in our agnostic times – aided admirably with a soundscape from Jules Maxwell.

But Doctor Faustus poses problems. With roots in morality plays, 16^th-century concerns and seemingly impossible stage effects, several scenes are potentially odd to modern eyes. Dunster’s solutions are admirable, using wit, imagination and strong doses of broad humour to engage: Georgina Lamb’s choreography is a capable distraction when the Doctor meets the seven deadly sins, the Pope becomes a comic mafia don, and a castle in the air is a simple inflatable balloon that floats off over the South Bank.

Paul Hilton is a model of clarity in the title role. Fingers stained with ink, this scholar-turned-magus’s pride is painfully convincing and, if he lacks the sensual touch that comes to dominate a man “ravished” by desires, his relationship with Arthur Darvill’s commendably understated Mephistopheles is electric.

Dunster injects a huge amount of movement into what is potentially rather a static play, and his tautly controlled ensemble works hard, peopling the world Faustus plays in. Of particular note are Charlotte Broom and Beatriz Romilly as the angels who fight over Faustus’ soul with samurai swords. With flashy touches such as this, Dunster grapples with Marlowe’s mighty play in a magical fashion and does not sell Doctor Faustus short.

Until 2 October 2011

www.shakespearesglobe.com

Photo by Keith Pattison

Written 24 June 2011 for The London Magazine

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“Bedlam” at Shakespeare’s Globe

3 November 2014 Edward Lukes Leave a comment

Nell Leyshon, the first woman ever to write a play for The Globe, has chosen her subject well. A story set in Bedlam, drawn from research into the Bethlem Hospital, the first and foremost home for the insane. To give us a break from the bard, the action takes place in the 18th century, where the gin flows freely and visitors pay to view the unfortunate residents of the asylum. As an audience we both replicate this morbid tourism and double as the inmates ourselves. The idea is typical of Leyshon’s clever and careful use of the space. While her play could be madder at times, she has a shrewd eye and ear for what works well at The Globe.

Director Jessica Swale also knows how to use The Globe’s distinctive intimacy. Her talented ensemble is given reign to have great fun. Pity those poor Groundlings (the standing audience members) as they have chamber pots poured over them and are dragged on to the stage. You have been warned.

There’s a lot of laughs here and, if mixing humour and mental illness can be tricky, rest assured it is tastefully done. Jason Baughan is the man in charge – having inherited his post he is proud to come from a long line of Mad Doctors. Sam Crane is a poet, trying hard to be pale and interesting and full of machinations. They both make delicious villains. A pleasing amount of fantasy is used to resolve the neat storyline and deliver poetic justice. Predictable maybe, but satisfying.

Where Bedlam really takes off is with its music. Leyshon researched contemporary sources and, with Olly Fox’s composition and Mark Bousie’s musical direction, has added to her play enormously. Sentimental songs are used with restraint and some hilariously bawdy numbers beg an encore. James Lailey is cast as a ‘Bedlamite’, an inmate released to earn his living busking, and given a moving story with contemporary resonance. Alongside him Ella Smith’s Phyllis is the roaming wife of a Bedlam warder, selling gin on the street as if she were a procuress. Smith gives great value for money, delivering an irristible performance. When the rest of the cast join in the singing, Bedlam becomes very special indeed. Treat yourself to a listen, enjoy some uproar, and don’t forget the gin.

Until 1 October 2010

www.shakespearesglobe.com

Photo by Keith Pattison

Written 10 September 2010 for The London Magazine

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“Henry IV Parts 1 and 2” at Shakespeare’s Globe

1 November 2014 Edward Lukes Leave a comment

This year’s terrific Kings and Rogues season at Shakespeare’s Globe gives us the theatre’s first production of Henry IV Parts 1 and 2. Under the direction of Dominic Dromgoole, the plays thrive on the clarity and immediacy of the venue. With the cast Dromgoole has assembled the plays receive the complex subtlety they deserve.

First for the king. Suitably careworn from the start, Oliver Cotton’s Henry IV has a fiery temper that encompasses both the passionate young man he once was and the disgruntled father he has become. In plays so concerned with the theme of age, he manages to convey the journey of a life time.

Then there are those who would be kings. Jamie Parker (fittingly, a member of the original History Boys cast) plays Prince Hal with an eye on the time. He has huge fun with the low-life company he keeps but also shows a cold edge that, for all Parker’s charm, is unsettling.
Sam Crane’s Hotspur also plays it for laughs, which makes him less of a foil to the dissolute Prince. His performance has perhaps too much of the puff-chested schoolboy about it to create the required tension as he leads his men into rebellion and bloodshed.

And now to the rogue – Falstaff, that “villainous, abominable misleader of youth”. Like Elizabeth I, we all fall in love with Sir John. Especially this one. Shakespeare gives him a lot to work with, but Roger Allam doesn’t miss a trick – he squeezes every last drop of comedy out of the text and adds some of his own. His Falstaff is urbane, fey and philosophical. He is also crude, reckless and (unusually) sexy. With impeccable timing and joyous physicality he is, oh, such good company.

Allam’s genius is to embrace the theatricality of the character – Falstaff loves being on show and Allam uses the particular intimacy of The Globe to great effect. The character doesn’t just perform in those famous tavern scenes. He also gets turns as wrestler Giant Haystacks in a Pythonesque moment where a superb Mistress Quickly (Barbara Marten) threatens him with a dead fish. And he is a passable Barry White figure, with Jade Williams’ fantastic Doll Tearsheet swooning at his charms. And who could blame her? With Allam in total, joyous control, we are all a little heady from the performance. This Falstaff is faultless.

But Falstaff isn’t irresistible to all. The fun cannot last and in Part 2 we see that the piper, in the form of the recorder-playing Hal, has to be paid. Solemnity sets in as the kingdom in turmoil takes its toll. There are still laughs but they start to sound hollow as the characters succumb to fatigue and stress.

Allam injects an escalating unease. Increasingly sordid and diseased, Falstaff is compelled to continue his charade as a soldier and this is one spotlight he isn’t comfortable in. Estranged from Hal, he is forced into plotting a poor joke against the charmingly doddery Shallow (William Gaunt). He never gets to tell the punchline. Appearing as an exhausted Bacchus, the energy passes to Jamie Parker who returns as a demented Pistol. Behind the euphoria at Hal’s ascendency we sense fear.

Henry IV Parts 1 and 2 are epic plays. The history they write takes in the whole of the country and also the span of man’s life. It is to Dromgoole’s credit that this twin focus is never lost. Lording it over all is the epitome of life itself – Falstaff. In all of his joy and his pain Allam’s rogue is truly magisterial.

Until 9 October 2010

www.shakespearesglobe.com

Photo by John Haynes

Written 15 July 2010 for The London Magazine