OTHELLO at Shakespeare's Globe: "Chaos is come again..."

So.. back to the Globe Theatre for a fourth time this year, which in itself is remarkable bearing in mind a year or so ago I was driven away from the place by the sheer ghastliness of Emma Rice's absurdly juvenile look-at-me, look-at-me caperings.  In the productions under new Artistic Director Michelle Terry there has been a focus primarily on the player and the words while stripping back the absurd trappings.  There has still been the odd clanging idiosyncratic choice - usually in the casting - but the productions, each in their own way, have been enjoyable, but Claire van Kampen's production of OTHELLO might just be the best of them all.

Van Kampen has been the Director of Music at the Globe since 1997 and has composed the scores for over 50 productions there. Mr. van Kampen is none other than Mark Rylance and they have worked together constantly, so it is no surprise that he is here cast as Iago, but any thoughts of obviousness are forgotten as he is wonderful in the role, Iago is the motor for the whole play and Rylance here is firing on all cylinders.

His Iago is all the better for being older than I have usually seen played: it makes his anger at Othello promoting the younger Cassio over him more understandable and, played by Rylance as a jovial 'uncle' of the battalion, makes it more understandable that all the characters would confide in him.  The production is taken at a fast pace so Rylance's quick emotional changes between concerned friend to conniving instigator are all the more exciting.  His performance was also full of delightful touches: his increasing insistence that Roderigo bring money when he follows Othello to Cyprus signposts the poor sap is going to be rinsed by Iago, and starting off the lie to Othello about Cassio and Desdemona in such a teasing yet apologetic way.

Although not matching Rylance, André Holland's Othello was very well performed, slowly and inexorably drawn into the quicksand of jealousy and doubt.  While not quite reaching the tragic heights of Othello's final moments it was still a fine portrayal which had solid roots in his first scene, where he established that Othello was by far the most worthy of husbands for Desdemona, his retelling of their courtship was very nicely played so the impression was of a performance that was thought-through from before he even set foot on stage.  He also speaks the verse excellently in his American accent.

He was well-matched with Jessica Warbeck's Desdemona; it is a bugger of a role and I have seen previous Desdemona's slip into insipidness by just over-doing the wide-eyed innocent but Warbeck reined this in and gave a good performance of a woman torn between love and bewilderment.  She was particularly affecting in her bedroom scene, singing the "Willow Song" while haunted by foreboding.

The three principles were surrounded by fine supporting performances: the always dependable William Chubb made an impression as Desdemona's distraught father Brabantio (a role he also played at the NT in Hytner's under-whelming production in 2013), Aaron Pierre's virile Cassio and Steffan Donnelly's duped Roderigo, for once not played as a silly-ass clown but as a young fish-out-of-his-depths.

Van Kampen's production also made me think of how the women all end badly: Desdemona and Emelia dead and Bianca - nicely played by Catherine Bailey - arrested for Cassio's attack. Sheila Atim's Emelia, the cynical wife of Iago who is Desdemona's attendant - was nearly done in by the costume designer's frocks: two pants-suits which were distracting for all the wrong reasons, particularly her first-act gold crushed velvet number which even Prince would have turned his nose up at.  However she gave a full-on fiery performance, particularly in her final speech which in these MeToo times rang clear: 

"Let heaven and men and devils, let them all,
All, all, cry shame against me, yet I'll speak.

 

Is Othello my favourite Shakespeare play?  It's certainly up there, thanks to no 'rude mechanicals' cluttering up the play with sub-plot, it's masterly construction and it's characters that come so vibrantly to life - and death - when played well.  Psychologically astute and emotionally wrenching, it is somehow wonderfully fitting that after the carnage that he is responsible for has happened, Iago - who until then has never stopped talking to the audience making us unwilling accomplices in his plot - says nothing.  He doesn't need to, the fun was in the plotting... he had no endgame, just revenge...

Demand me nothing: what you know, you know:

From this time forth I never will speak word.

 

It is somehow fitting that OTHELLO should play the Globe as it's creator, actor Sam Wanamaker played Iago opposite Paul Robeson's Othello in 1959 at Stratford-upon-Avon in a production directed by Tony Richardson.

It is a pleasure to be able to recommend productions at The Globe again and although OTHELLO is sold out until the end of it's run on October 13th, there is always the chance of returns sold 90 minutes before the show's 7.30pm start.

 

 

 

HAMLET at the Globe - "To hold the mirror up to nature..."

Last week I found myself back in the dangerous corridors of Elsinore, this time via the bare stage of The Globe Theatre.  Yes folks, another week, another Globe visit...

So here I am again, seeing an actor taking on the challenge of Hamlet for the eleventh time - and who was following in the steps of Kenneth Branagh, Jeremy Northam, Ian Charleson,  Simon Russell Beale, Dan McSherry (indeed, who?), Jude Law, Rory Kinnear, Michael Sheen, Benedict Cumberbatch and Andrew Scott?  Michelle Terry, my first female Hamlet - apart from seeing Frances de la Tour doing a scene at a charity event - and a major challenge for The Globe's new Artistic Director.

HAMLET is presented by the same 12 actors who also appeared in AS YOU LIKE IT and I think the comedy succeeded more than the tragedy.  The same two directors are credited but there is no sense of direction during the play: people come, people go, with no sense of escalating tension for either Hamlet or Claudius.  Hamlet goes to England, he comes back from England...  people drop like nine pins in the final scene but with no real sense of mortality or that this is the climax of the actual play.

The directors' blocking and positioning of the actors on the stage, as with AS YOU LIKE IT, suggested it was possibly all worked out in the rehearsal room and just dropped onto the stage as is; there was a lot of traffic on the stage but none of it seemed to make any sense or helped with the dodgy acoustics in the round auditorium.  It was all a bit infuriating.

As I said, this Elsinore had gone minimalist and appeared to have no furniture to speak of at all.. and don't start me on the costumes or lack of them.  I was not totally surprised to read in the programme that they have brought their own stuff in to act in.  That might explain the light blue floaty dressing gown that Gertrude - the Queen of Denmark remember - wears in the closet scene:  they were obviously having a sale on at Primark.

There actually was one concept that worked: the scene with the players and Hamlet's staging of "The Mousetrap" - that never fails to get a laugh - is usually a problematic one because you have to see the play twice: once in mime, then the players act it out.  It can really try one's patience when you just want to get on with the plot, and also it's a bugger to focus on because you are too busy concentrating on watching Hamlet watch Claudius watch the play to see his reaction to the player king being murdered.  Here the players did the dumb show to set up what they were going to act but then vanished into the audience and the play was not shown, just the reactions front and centre of Claudius, Gertrude and Hamlet; loud and ominous percussion was played behind our first-level back-row to suggest the play.- which was effective but a bit-heart-attack inducing.

The casting, as with AS YOU LIKE IT, was ethnic and gender blind and created as many problems as with the comedy.  Surely an idea behind gender-mix-up casting is to possibly give a new slant on the role in question but here that was not in evidence apart from possibly within Terry's performance.  There were some seriously under-powered performances: James Garnon as Claudius made no impression at all as Claudius - he seemed to just point his elaborate hair-style at people (think Cameron Diaz in THERE'S SOMETHING ABOUT MARY) while Catrin Aaron was colourless as Horatio and Helen Schlesinger played Gertrude as if she had come into a room and forgotten what she was looking for.

The main problem was with the tipsy-tarty casting of Bettrys Jones and Shubham Saraf as Laertes and Ophelia respectively - if they had switched roles it might have proved more interesting and allowed them to give better performances, but no: Saraf brought no insights to Ophelia - just a man in a dress - and James was as lightweight and as vaguely irritating as she was in AS YOU LIKE IT in yet another male role.  I have enjoyed her performances in previous productions but in these two plays she has proved that she is a lousy man.  Shubham Saraf did redeem himself briefly as a very characterful Osric.

The fine Jack Laskey was reduced to playing Fortenbras and the player who recites the Priam speech - but even he was defeated with being placed over at one side of the stage in that scene and his speech went for nothing.  But credit where credit is due: Colin Hurley was a dull Ghost but seized his laughs as the Gravedigger, Richard Katz was a suitably irritating Polonius - while missing any suggestion of threat in his relationship with Ophelia - while the indispensable Pearce Quigley and Nadia Nadarajah made a good Rosencrantz and Guildenstern.

Above all else, it was Michelle Terry's show; she played with a solid authority and spoke the lines with great intelligence - oh, and that speech?  She played it kneeling at the front of the stage, holding an audience member's hand and asking him "To be or not to be?" which was a very nice touch, it somehow personalized it, as if Hamlet was asking his opinion.  Sadly she was given no help with the absurdly ugly costumes she had to wear and ultimately, a lot of the production was not up to her level.

I will have to ponder where Michelle Terry sits in my pantheon of Hamlets, but I know that her interpretation did not move me as others have; it is possible for this to happen even within a shonky production - Andrew Scott is a good example - but here I suspect Terry was unwilling to out-shine the ensemble - she didn't even get a solo bow!  This strikes me as a rather false humility, after all, as the Globe's artistic director she nabbed the role for herself.  Despite all the failings of the production, I have to admit that I was pleased to have seen it and I still have high hopes for Michelle Terry's tenure.

AS YOU LIKE IT and THE TWO NOBLE KINSMEN at the Globe - Back to the Bard...

Now is the winter of our discontent, made glorious summer, by this daughter of Terry... well, for now anyway.  Like a Duke in a Shakespeare play I have been in exile from The Globe in Southwark since 2016, after being subjected to the childish Theatre-In-Education-style productions under that victim-card-playing creature Emma Rice, the personification of all that is ghastly with dumbed-down British Director Theatre where all is surface and hollow.  Her leaving was trumpeted as sexism on the part of the Globe Board, when in fact other issues were more pressing... like, where did all the volunteer staff go?

But now we have the fine actress Michelle Terry as the Globe's new Artistic Director and the first two performances have been great fun... yes, they have the now mandatory non-traditional casting but they were both played with such brio that it could be forgiven, unlike Rice's infantile look-at-me look-at-me revisionism.

For me AS YOU LIKE IT is an ironical title as I have never seen a production that I have liked!  Some have been good in parts but none have seized my imagination and proved truly memorable unlike other Shakespeare plays.  Terry has started her season with AS YOU LIKE IT and HAMLET performed by a rep company of 12 and I must say the cast was an area that was problematical for me.

Jack Laskey was a very good Rosalind, playing up the ambiguities when she disguises herself as Ganymede, but her two main onstage partners were a bit of a worry.  They will no doubt say that the gender balance was maintained by Bettrys Jones playing Orlando - but what's the point when she made absolutely no impact in the role?  Something that is unanswered in gender-blind casting is: which would an actress rather play - Rosalind or Orlando?  Why take roles from actresses only to reassign them to male roles that they cannot bring to life? 

Laskey's other stage partner proved more problematical - deaf actress Nadia Nadarajah is playing Celia, and while dramatically it worked to illustrate Celia's own marginalization within her father's court, when one's understanding of any particular scene is compromised by the fact that Celia's lines are rendered silently, what is the point?  I had honestly never realized how many lines Celia had until they were silently spoken.  I am all for Nadarajah being given her chance to work but "The play's the thing" and surely any casting choice that deliberately hinders the understanding of that play should be questioned.  I must admit I have wondered now we are in the tipsy-tarty world of gender and ethnic blind casting, which brave theatre director will choose a white actor for OTHELLO?  Not this tide.

Meanwhile back in the forest of Arden... there were excellent performances from Colin Hurley as a loud and leering Touchstone and, in the performance of the evening, Pearce Quigley brought his louche and whacked-out charm to Jaques, for once his mournful and cynical interjections ringing totally true; there was even a really nice touch when he concluded "The seven ages of man" speech by suddenly bursting into tears.

There are other charming performances lurking in the invisible forest too: Tanika Yearwood made a real impression with some quality singing as Amiens and took to the skies as Hymen,  Helen Schlesinger did some neat slight-of-hand swapping from the kindly exiled Duke to the usurping Duke by simply turning her frock-coat inside out, Shubham Saraf was a memorable Oliver - not often said - and James Garnon, not an actor I usually like - had great fun as a stroppy and sluttish Audrey.  It goes without saying that I liked Michelle Terry's supporting turn as Adam, Orlando's old courtier - as soon as she spoke her lines you knew she was a real Shakespearean.

There are two directors credited for the production but I was vaguely annoyed at how the blocking of the scenes seem to have been worked out in the rehearsal room rather than the stage so The Globe's dodgy acoustics were not addressed and more often than not lines were not heard by them not being addressed to the whole audience: when you are battling noisy crowds outside, incongruous emergency sirens and aircraft noise above you need all the help you can get by simply taking in all the sides of the stage.

But despite my issues with it, I enjoyed it a lot!  The sheer joy of playing to that audience on that stage came through loud and clear and I felt some of the delight that I got from seeing productions at the Globe before the Bitter Rice years.

Four days later we were back to our new-found favourite seating - the back row of the first tier as it has an all-important back to the purgatorial benches - to see my first-ever production of THE TWO NOBLE KINSMEN, written circa 1613-14 which has the claim of being possibly the last play Shakespeare ever worked on, here in collaboration with John Fletcher, one of three dual plays, the others being HENRY VIII and the now-lost CARDENIO.

It has the distinct cut-and-shunt quality of a play that has been passed back and forth between two writers, each taking their favourite plotline in new directions before the tone shifts again and we are back on another plotline.  Singularly lacking in poetic flight, it gives you an idea of the plays which would have been quickly worked on and put on to feed the need for new plays in the new theatres of Jacobean London.

The rulers of Athens, Theseus and Hippolyta, declare war on the ruler of Thebes and vanquish the tyrant.  Theseus captures two of Thebes' finest fighters, the close friends Arcite and Palamon, and although he admires their courage and skills, he has to imprison them.  The two friends are happy they are together and do not fear imprisonment as long as they are together.  However this sworn devotion is broken when they both fall in love at first sight with the beautiful Athenian princes Emilia.

Arcite is released but is banished from Athens, he returns in disguise and after winning a wrestling match, becomes Emilia's bodyguard.  The jailer's daughter has fallen in love with Palamon and she releases him from his cell; he escapes into the Athenian woods with the lovesick daughter in pursuit but he ignores her which drives her mad.  Her madness however does not stop her joining in an exuberant Morris dance for Theseus and Hippolyta.

Palamon and Arcite meet again and despite the latter providing his friend with food and arms, they fight again. They are interrupted when the court discover them and Theseus demands them both executed.  However after Hippolyta and Emilia plea for mercy, he ordains that the friends fight in a public tournament with the winner marrying Emelia, the loser to be put to death.  Who will win the challenge, and who will ultimately win Emelia?

It has odd echoes of A MIDSUMMER NIGHT'S DREAM with lovers pursuing the unloving into the Athenian woods, a group of Athenian citizens rehearsing in the forest and the characters of Theseus and Hippolyta, while the jailer's daughter lovesick derangement reminds you of Ophelia in HAMLET - it feels like Shakespeare thinking "Oh I'll just chuck in one of my greatest hits..."  It is such a disjointed tale that I would think twice about seeing a straight version of it.

But here we have Barrie Rutter directing it, his first production since standing down from being Artistic Director of Northern Broadsides, the company he set up in 1992, and he gives us a rollicking, colourful, big-hearted version of the play which is totally winning.  He keeps the action moving around the Globe's stage and never lets the pace drop until the inevitable final jig.

He elicits unshowy, committed performances from his band of merrie players: Bryan Dick and Paul Stocker are good as the former friends, Francesca Mills is a delight as the jailer's daughter and there is fine support from Moyo Akandé as a Gorbals Hippolyta, Jude Akiwudike as Theseus and Jos Vantyler as the teacher leading the Morris dancers.  Ex-KINKY BOOTS star Matt Henry plays Theseus' right-hand man Pirithous so slightly that one suspects his MBE for services to theatre might have been bestowed somewhat prematurely, while Elloria Torchia's lightweight Emelia made you wonder what our Two Noble Kinsmen saw in her.

But these two quibbles aside, I thought Barrie Rutter - one of my original GUYS AND DOLLS heroes from the National Theatre in 1982 - triumphed with this production and shows that he has just the right populist touch needed for The Globe.  I hope it's not too long before he is back there.

So two productions in and I am won over to the Globe under Michelle Terry's leadership - we have HAMLET, LOVE'S LABOURS LOST (at the pretty but agonizingly painful-seated Sam Wanamaker Playhouse), and OTHELLO to go so I will keep you updated on the progress through the season.

As Michelle Terry quotes from HAMLET in her introduction to the season "Come, let's go together..."

Luckily the National Theatre has highlighted the word COMEDY on the programme cover for their new production of THE COMEDY OF ERRORS. You would be hard-pressed to know it was one from Dominic Cooke's production.

Oh Mr. Cooke... your production of CLYBOURNE PARK was one of the best of last year - by turns hilarious and thought-provoking. Here all one can marvel at is why such a such a dreary 'concept' has been clamped down over this play.

I can't say I am the biggest fan of Shakespeare's comedy of mistaken identity as it plays into my infamous irritation at farce but here any potential for interest is stymied by an ugly production in which the action is needlessly transported to current day South London.
I knew I was in for trouble within a few minutes during the opening scene of the merchant from Syracuse explaining to the Duke of Ephesus why he is in the country when it is forbidden. It is played as a gangland kidnapping with ex-work colleague Ian Burfield playing the Duke like a long-lost brother of The Krays. It was totally disorientating as well as being poorly acted. I felt for veteran actor Joseph Mydell as his speech about the shipwreck that cost him his wife. one of his twin sons and their allotted servant being totally upstaged by a needless reenactment of it including an on-stage airlift.

After that I sat watching the action with a diminishing interest which was only fully engaged oddly enough when Bunny Christie's overly-elaborate set refused to work! Lenny Henry is cast as the Antipholus and gives a nice enough performance but why does he have to use an unnecessary African accent? He could just as well as used his natural Brummie accent to highlight the fact that he is a visitor to Ephesus/Peckham? Even regular favorites like Claudie Blakely and Michelle Terry failed to impress.

It goes without saying that the verse speaking is beyond bad and it was lucky that I had a knowledge of the play beforehand - truly the nadir of the evening was a farting competition via intercom between the Dromios.

I saw Ian Charleson's Hamlet on that stage.

Just as the final scene started - and I was grasping under the seat for my bag to high-tail it out of there - something extraordinary happened. Cooke just let Pamela Nomvete as the long-lost Aemilia perform her speech without any distracting business going on and she stole the show in those few minutes. How odd to sit through a show for about 2 hours and only become fully engaged in the last scene.

I left the Olivier thinking that if the National had wanted to stage THE COMEDY OF ERRORS but in a radical new way all they had to do was stage the Rodgers & Hart musical version THE BOYS FROM SYRACUSE, at least then we would have had a good laugh *and* also have got FALLING IN LOVE WITH LOVE, THIS CAN'T BE LOVE and SING FOR YOUR SUPPER.

Sometimes it does you good to leave the city... especially from a stalls seat in the Olivier Theatre.

Earlier this week Owen and I saw the last preview of Nicholas Hytner's revival of Dion Boucicault's comedy of manners LONDON ASSURANCE.

It was an evening of revisits... the first time I had been back to my beloved Olivier since the rather woeful NATION and it was a welcome return to the work of Boucicault whose epic comedy THE SHAUGHRAUN worked so well in the Olivier back in day - bejesus it was 22 years ago!!

As the programme notes, Boucicault seems to be the bridge from the post-Restoration comedies of Congreve and Sheridan to the 'modern' works of Wilde and Shaw. It is certainly worth noting that these five playwrights were all Irish - Congreve was born in England but raised and educated in Ireland.

Boucicault's plays usually have a highly theatrical style, teeming with larger-than-life characters sweeping through melodramatic plots with hissable villains and fainting heroines.

He had started out as an actor then tried his hand at writing. Three years later he presented a farce to Charles Matthews who co-ran the Theatre Royal, Covent Garden company who advised him to try his hand at a comedy dealing with 'modern life'. The result was LONDON ASSURANCE which was staged in 1841 to an immediate success. This set him off on a life of roaring success and crashing failures, several debatable marriages, the initiation of copyrights for authors and box-office royalties. His life would make a great play!

The play has been given a textual revision (!) by Richard Bean which I presume has given it a slight update but the plot is pure post-Restoration: the vain and overbearing Sir Harcourt Courtly has a large London townhouse, a wardrobe of outlandishly modern clothes, an idea of his own importance and a bank account running low on funds.He shares his house with his son Charles who he believes to be a studious and mild lad although Charles sneaks out nightly for a life of drinking and gambling. Sir Harcourt is arranging with his landowner friend Max to marry his 18 year old niece Grace but this means Courtly - to his horror - has to venture into deepest Gloucestershire to close the deal! Little does he know that Charles is also on his way thanks to Max extending an invitation to the cockney chancer Dazzle who helped Charles home that morning!
Once there, the practical Grace is appalled at the overdone Sir Harcourt but finds herself to be falling in love with a young stranger - yes you guessed Charles in disguise! Another spanner is thrown in the romantic works with the arrival of the gloriously named Lady Gay Spanker, a country wife addicted to hunting who Sir Harcourt is soon making a play for - despite the presence of her geriatric husband. Complications ensue...

Nicholas Hytner keeps the pace going at a rapid rate, buffaloing over some of the more dodgy plotting to build up a frenzy of fun and bringing out the best in his fine ensemble.
Nick Sampson steals every scene he is in as Courtly's unflappable butler Cool - a career awaits him for all those gentleman's gentleman roles not played since the loss of Gielgud! Matt Cross also makes a big impression as Dazzle the flyboy floating through life on his wits. Mark Addy too made a real impact as Max, the avuncular country householder.

Michelle Terry followed up her role as Helena in last year's ALL'S WELL THAT ENDS WELL with a sparky performance as Grace, another resourceful young woman. She was ably partnered on stage by Paul Ready as Charles, again following up on his fine performance in last year's less-than-great TIME AND THE CONWAYS. There was an effective cameo from Richard Briers as the doddery but game Mr. Spanker.

Ruling over the evening however is the killer-diller duo of Simon Russell Beale and Fiona Shaw.
Simon Russell Beale came to prominence in the 1980s playing over-made-up fops in several RSC restoration comedies so this is familiar territory to him - but by God he is wonderful at it. He cut an outrageous figure, first in a flowing brocade dressing gown and then in a purple cutaway all topped off with suspiciously dark curls, he mines seams of comedy with ease. He timed his laughs with the preciseness of Mussolini's timetables - especially when telling Max about how his wife ran off with his best friend *beat* *beat* "And I miss him". Another memorable performance.
Fiona Shaw isn't an actress I usually go out of my way to see but back in 1983 I saw her on the Olivier stage in her debut as Julia in Sheridan's THE RIVALS and it's a joy to see her return to High Comedy from the wastelands of The Waste Land and Mother Courage. I suspect most actresses would let the name - Lady Gay Spanker - do most of her work for her but Shaw is intelligent enough to seek out the character too and gives us a rambuncious, cigar-smoking, whisky-swigging, good-humoured lady of the land - the scenes between her and Beale are easily the high points of the evening.

Mark Thompson's sets are a delight and the whole production has a timeless gusto that will keep the Olivier Theatre busy for some time.