Tag Archives: Sherry Coenen

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“Tempest” at the Pleasance Theatre

You can see why the Wildcard’s gig-theatre style has its fans. There’s a raw energy to its take on Shakespeare’s Romance that has an anarchic appeal. Director and adapter James Meteyard’s show has lots of ideas, some of them interesting. But there are also lots of problems.

One strength comes with comedy. Shakespeare’s subplot of shipwrecked sailors who join with Caliban to take over the play’s island setting is seldom funny. But with plenty of ad-libs, Eleanor House’s trombone-playing Stephano and Gigi Zahir’s drag queen Trinculo are a lot of fun. Zahir’s “Shutteth the fucketh upeth” is a long way from Shakespeare – but it works. Throwing in a catwalk show is a brilliant twist.

Meanwhile, both the romance and the revenge in The Tempest get lost. Kate Littlewood’s restrained Prospero and Ruby Crepin-Glynne’s savvy Miranda feel like additions rather than central characters. Alexander Bean, so impressive as Caliban, gives a shadowy Duke Alonso. There are too many stumbles from too many of the performers. And of course, when pauses or fumbles start, the atmosphere becomes uncomfortable.

“The isle is full of noises”


The production is notable for boasting Jasmine Morris as its composer. Not so much for the few songs that are included (Meteyard’s lyrics for these are poor) but rather for the soundscape, created with plenty of invention and hugely atmospheric. Yet what should be the show’s triumph also stalls. Whether this is Daniel Balfour’s sound design or technical faults isn’t clear. But the numerous sound effects (which aid Loren O’Dair’s strong performance as Ariel) stop and start abruptly. Audibility is poor.

Meteyard and movement director Jade Hackett work hard to make sure the actor-musicians aren’t stuck with their instruments. There’s a revolving stage and even some aerial acrobatics as well as ambitious lighting from Sherry Coenen to create dynamism. But, yet again, this is uneven. Moments that impress, with a lot of thought behind them, jar with the cast wandering around. The final scenes are far too static.

That the show is too messy for me might be a matter of personal taste. But while only inspired by Shakespeare – with favourite scenes picked out – the truncated approach makes Tempest difficult to follow. The result is a niche affair that shows the original as a piece that needs balance and a play that’s surprisingly easy to wreck.

Until 3 April 2022

www.pleasance.co.uk

Photos by Lidia Crisafulli

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“Electra” at the Bunker Theatre

We are all used to seeing a Greek tragedy updated, and this new production from John Ward and DumbWise Theatre at the brilliant Bunker Theatre uses both Euripides and Sophocles to show the drama of the Argos royal family. As a political thriller, it is gripping, if not a little enthralled by its own modern touches.

Lydia Larson takes the lead and sets the tone of the piece. Her Emo Electra is suitably “relentless”, full of “scowl and spit and cry”. Towards the end, the portrayal of madness becomes a little monotone, with too much time spent on the tips of her feet, but Larson is convincingly cynical and inspiringly fiery. She’s clearly her mother’s daughter and the show’s Clytemnestra, performed by Sian Martin, is riveting. The Machiavellian queen only hints that revenge was the motive for murdering her husband, coldly dismissing her daughters and manipulating whoever, whenever, at any opportunity. Dario Coates works hard as the returning son and heir, showing depth as a fragile young hero, but this Orestes doesn’t stand a chance against these marvellously formidable women.

You see Martin’s talents most in a scene when Clytemnestra is interviewed on television. Introducing technology is a valid technique, employed before, that Ward uses to focus on the political revolution in the play. The Chorus become virile rebels and courtiers creepy civil servants (there’s strong work here from Megan Leigh Mason) with both parties full of realpolitik as they battle for “hearts and minds”.

The script falls over itself to introduce contemporary touches, from frozen party foods to fake news. The aim is surely to make the show feel relevant, but it lacks finesse. And there’s a reliance on expletives that reveals the language is too frequently prosaic. Some parallels with current events are a little forced – an emphasis on “Godless Greeks” is a clever enough move, but it fights with the religious content of the story as no character really rejects superstition.

The show’s achievements are nonetheless impressive. With the help of strong musical accompaniment – the cast all play instruments and sing – and commendable work from lighting designer Sherry Coenen, this Electra is exciting. The decision to show some violence on stage (contra classic Greek tragedy) and to make the Chorus so dynamic, results in an action- filled show that is consistently, if not constantly, stimulating.

Until 24 March 2018

www.bunkertheatre.com

Photo by Lidia Crisafulli