For centuries, Shakespeare’s take on the Trojan war has been written off as unstageable, and with good reason - the play is an absolute disaster, with plot threads strewn about like blobs on a Jackson Pollock. It is in the face of such adversity that Cheek by Jowl have returned to the Barbican, premiering their best attempts at dramaturgy first in France (way to honour their ACE funding...) before landing at the Barbican to deliver 195 minutes of sheer and utter boredom to London audiences.
Unfortunately, despite what the RZ’s tutor described as massive edits and streamlining, Troilus and Cressida is still an indeterminate mess as well as a paragon to false advertising. The titular lovers have little stage time, their romance being a mere subplot which could easily have been discarded (except then the play would need to be retitled), rather the focus is on the challenge between Hector and Achilles and the interference run by Ajax. Being unfamiliar with the original edition of the text (nobody stages it and it’s not on most American syllabi), the RZ can’t comment on the extent of the edits, but a girl was loudly complaining on her way out about how the company hacked up the play. Given that plays in Shakespeare's day would have been edited to run for two hours, the RZ feels that it was under-cut.
Visually, the acclaimed Nick Ormerod (half of the CxJ über-duo) goes for the glory but falls short, placing the show in a traverse that resembles something between a nomadic camp and a cheap circus. Again failing to live up to advertising, there is an utter lack of creepy clown masks (first image) on stage, but we do see gas masked Greeks as well as Ormerod’s clear love of first person shooters, as the warriors don a full set of steel helmets and cricket pads to look like squishy rejects from Halo (second and third images). It’s the same deal for both sides, except the Grecians have their kit painted black while the Trojans wear lots and lots of white, reducing the Iliad to a beginner’s game of chess. As the cast go knocking over stools and wrinkling the long strip rugs we’re treated so some bland lighting (with one good effect at the end) and a lack of purpose from the setup.
Declan Donnellan (the other CxJ wunderkind) has plenty to answer for as well, not least of which the pitiful battle scene which looked like it was inspired by God of War. One of the RZ’s classmates questioned why the production was staged in traverse at the interval, but nobody had an answer by the end. Usually such a staging allows for a feeling of claustrophobia or intimacy, but neither was to be found here. Donnellan’s direction has also provided one of the most annoying characters in recent history to pervade the London stage in the form of Ryan Kiggell’s obnoxiously stilted Ulysses. With a pair of skinheads as Achilles (Paul Brennan) and shouting Scotsman Ajax (Laurence Spellman, whom the RZ suspects escaped from the tour of Black Watch) and a boy band filling out the ranks of the young Trojans. Given the quantity of homoerotic subtext present in the text now magnified by the staging, the RZ wondered if Cheek by Jowl should have thrown out most of the script and produced a Shakespearean porno instead, especially with the presence of Richard Cant as tranny maid Thersites.
There’s no doubt, however, that Shakespeare fans will discuss this production for years to come, as Troilus and Cressida is so rarely staged. Indeed, the RZ’s class was evenly split between “found it OK” and “didn’t like it,” and he is admittedly not a fan of Shakespeare, so take this review with a large block of salt. In the RZ’s opinion, however, the best seats are in another venue and suggests taking in some Brecht at the Young Vic instead.
Where: Barbican Main Theatre
When: Until 14 June, M-Sa @ 19:15, Sa @ 14:30
How Much: £25
Concessions: Cheek by Jowl reconfigure the venue so seating is more limited than usual, so no concessions.
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RZ Unofficial “Worth Paying”: £0. While the fight was laughably bad and the drag cabaret provided a moment of amusement in the second half, they don’t make up for the fact that this is a messy, dull play that no amount of Bardolatry can justify.
RZ Other Notes: Yes, I panned Shakespeare. Let the flaming begin.
Showing posts with label Shakespeare. Show all posts
Showing posts with label Shakespeare. Show all posts
Thursday, 29 May 2008
Monday, 12 May 2008
REVIEW: "King Lear"
“I was young and foolish then.
I feel old and foolish now.”
--They Might Be Giants
Springtime in England means pleasantly warm, breezy days, cricket matches, and for the artistic, a new season at Shakespeare’s Globe. Part legit theatre with a focus on both new writing and the classics, part tourist attraction, and part educational outreach, the Globe has faced its fair share of controversy from the artistic press in the past.
That said, the only controversy surrounding this year’s season opener, King Lear, is the Globe’s choice to promote it as “Shakespeare’s Greatest Tragedy.” Is it because Hamlet or Macbeth are greater?
No.
It’s because the Globe’s Lear is pretty damn funny. Lines are played to the maximum comedic effect (gaining a response from the audience), undermining the tragic path of the title character and those surrounding him. Despite the high body count, it’s easier to laugh at the lines about the difficulties of marriage and Edmund’s dilemma of engaging Goneril and Regan at the same time than to get through the detached veneer director (and artistic director) Dominic Dromgoole has hidden the text behind. The RZ wonders if he would have cared or felt anything when Lear loses Cordelia if the aforementioned tonal issues, well, weren’t. Had the comedy been cut back after the interval, the shift would have gone a long way towards reminding the audience that this isn’t a happy play, even if the characters (including the dead) get up and dance during the curtain call. Instead, the whole thing plays out as a nasty episode of Footballer’s Wives.
Combine this with Trystan Gravelle (Edgar) and Daniel Hawksford (Edmond) blowing through no less than seven accents each, one can easily see what the RZ thinks of how this production was staged. As it stands, he’s still not sure if Gloucester’s sons are Welsh, Scottish, or even from Gloucester. All he knew was that Edmond must be the villain as he had the most attractive costume (as villains are wont to do - evil comes with style.)
David Calder is a cuddly Lear, though he mumbles his way through the first act and was overpowered by a chorus of drums and rain sticks during the storm scene. Joseph Mydell is far more regal is Gloucester, and Paul Copley is a wonderfully crotchety Kent. The RZ suspects, however, that Pamela Hay got lost on her way to Lord of the Rings, as she stands above the action moaning and wailing out ballads in Middle English like a cat whose tail is being slowly cut open.
This isn’t to say that this Lear doesn’t feature some successful moments, as it does, but the Globe’s production is by no means the tear-jerker that it claims to be.
Where: Shakespeare’s Globe
When: In repertoire until 17 August. Performances at 14:00 and 19:30, check the website for booking days and details.
How Much: £5-£33
Concessions: None.
----------------------------
RZ Unofficial “Worth Paying”: £5. The RZ is not a Shakespeare fan and got more entertainment out of watching planes fly by, monitoring the audience, and enjoying a spring evening outside than from the actual play.
RZ Other Notes: Standing in the yard at the Globe is fun, and it’s easy to bring in your own snacks/drinks. Patrons should definitely bring water, especially on warm and humid days. Patrons in the yard can come and go as they please to use the loo, get drinks, sit on the benches overlooking the Thames, etc. The full runtime is 185 min. including the interval after act three. While the RZ isn’t enamoured by the play, he found the first half mostly interesting, though found himself bored quickly by acts four and five. Anybody who says Shakespeare doesn’t need a dramaturge is lying.
I feel old and foolish now.”
--They Might Be Giants
Springtime in England means pleasantly warm, breezy days, cricket matches, and for the artistic, a new season at Shakespeare’s Globe. Part legit theatre with a focus on both new writing and the classics, part tourist attraction, and part educational outreach, the Globe has faced its fair share of controversy from the artistic press in the past.
That said, the only controversy surrounding this year’s season opener, King Lear, is the Globe’s choice to promote it as “Shakespeare’s Greatest Tragedy.” Is it because Hamlet or Macbeth are greater?
No.
It’s because the Globe’s Lear is pretty damn funny. Lines are played to the maximum comedic effect (gaining a response from the audience), undermining the tragic path of the title character and those surrounding him. Despite the high body count, it’s easier to laugh at the lines about the difficulties of marriage and Edmund’s dilemma of engaging Goneril and Regan at the same time than to get through the detached veneer director (and artistic director) Dominic Dromgoole has hidden the text behind. The RZ wonders if he would have cared or felt anything when Lear loses Cordelia if the aforementioned tonal issues, well, weren’t. Had the comedy been cut back after the interval, the shift would have gone a long way towards reminding the audience that this isn’t a happy play, even if the characters (including the dead) get up and dance during the curtain call. Instead, the whole thing plays out as a nasty episode of Footballer’s Wives.
Combine this with Trystan Gravelle (Edgar) and Daniel Hawksford (Edmond) blowing through no less than seven accents each, one can easily see what the RZ thinks of how this production was staged. As it stands, he’s still not sure if Gloucester’s sons are Welsh, Scottish, or even from Gloucester. All he knew was that Edmond must be the villain as he had the most attractive costume (as villains are wont to do - evil comes with style.)
David Calder is a cuddly Lear, though he mumbles his way through the first act and was overpowered by a chorus of drums and rain sticks during the storm scene. Joseph Mydell is far more regal is Gloucester, and Paul Copley is a wonderfully crotchety Kent. The RZ suspects, however, that Pamela Hay got lost on her way to Lord of the Rings, as she stands above the action moaning and wailing out ballads in Middle English like a cat whose tail is being slowly cut open.
This isn’t to say that this Lear doesn’t feature some successful moments, as it does, but the Globe’s production is by no means the tear-jerker that it claims to be.
Where: Shakespeare’s Globe
When: In repertoire until 17 August. Performances at 14:00 and 19:30, check the website for booking days and details.
How Much: £5-£33
Concessions: None.
----------------------------
RZ Unofficial “Worth Paying”: £5. The RZ is not a Shakespeare fan and got more entertainment out of watching planes fly by, monitoring the audience, and enjoying a spring evening outside than from the actual play.
RZ Other Notes: Standing in the yard at the Globe is fun, and it’s easy to bring in your own snacks/drinks. Patrons should definitely bring water, especially on warm and humid days. Patrons in the yard can come and go as they please to use the loo, get drinks, sit on the benches overlooking the Thames, etc. The full runtime is 185 min. including the interval after act three. While the RZ isn’t enamoured by the play, he found the first half mostly interesting, though found himself bored quickly by acts four and five. Anybody who says Shakespeare doesn’t need a dramaturge is lying.
Monday, 11 February 2008
REVIEW: "Sweet William"
There are two kinds of theatre fans in this world: those who are fans of Shakespeare and those who do not exist in the eyes of the former. Indeed, how could one fail to be charmed by the language, the sweeping epics, and the legacy left behind by the Bard? To be completely honest, the RZ finds it pretty easy. He would rather sit through a repeat visit to An Audience with the Mafia than go to a production of Shakespeare, and the only time he has ever found himself engaged at all by the master was watching Slings & Arrows - and even then it was the acting and the set-up rather than the words which blew him away.
That said, classical actor Michael Pennington had an entirely different and wholehearted appreciation for the man, leading him to devise and perform the new one-man show Sweet William, now running at the home of the Dyson Airblades...er...Trafalgar 2.
Pennington’s tale is an intertwined blend of his own life and experience with the material with that of Shakespeare’s. From his first visit to Macbeth to forming a politically charged troupe, Pennington relates to and through the great texts, coming in and out of characters related to the times and events in the discussed lives.
And that’s about it, really. It’s hard to go into great detail about such a simple show, other than to point out that it’s obvious from beginning to end how passionate Pennington is about his source material. Despite his age, he maintains an approachable warmth and vigour through two acts with only a chair to accompany him.
And because there’s so little to comment on, it’s a rather easy judgement to call to make. Shakespeare enthusiasts will feel at home with this production, and while non-enthusiasts are unlikely to be converted (the RZ wasn’t), it’s a more entertaining lecture than the far more sensationalised pap mentioned above.
Both groups, however, should be outraged at the Ambassador Theatre Group for having the gall to charge £27.50 for this production. One man, a chair, and a single lighting preset doth not such a high price justify, and as one of the RZ’s companions pointed out, one could see a musical for that (or two or three fringe productions elsewhere). The show is touring, however, and will undoubtedly be cheaper at the Kingston Rose or Greenwich Theatre (it’s playing one of them....)
Where: Trafalgar Studios 2
When: M-Sa @ 19:45, Th/Sa @ 15:00 until 16 Feb.
How Much: £20 Mon. Eve, £27.50 all other performances
Concessions: Book by phone and mention “ATG Email Offer” to get £20 tickets. Students and usual suspects can likely get day seats as well.
----------------------
RZ Unofficial “Worth Paying”: £12.50. It would be worth top price at a smaller venue with a more reasonable price.
RZ Other Notes: Readers who have not seen the brilliance that is Slings & Arrows (a Canadian TV series about a Shakespeare festival) are deprived and should rush to the nearest R1 DVD store of their choice to pick up the new and highly affordable boxset. Also, both of the RZ’s companions commented on Trafalgar’s use of Dyson Airblade hand driers, officially making Trafalgar Studios the trendy place to use the loo in the West End.
That said, classical actor Michael Pennington had an entirely different and wholehearted appreciation for the man, leading him to devise and perform the new one-man show Sweet William, now running at the home of the Dyson Airblades...er...Trafalgar 2.
Pennington’s tale is an intertwined blend of his own life and experience with the material with that of Shakespeare’s. From his first visit to Macbeth to forming a politically charged troupe, Pennington relates to and through the great texts, coming in and out of characters related to the times and events in the discussed lives.
And that’s about it, really. It’s hard to go into great detail about such a simple show, other than to point out that it’s obvious from beginning to end how passionate Pennington is about his source material. Despite his age, he maintains an approachable warmth and vigour through two acts with only a chair to accompany him.
And because there’s so little to comment on, it’s a rather easy judgement to call to make. Shakespeare enthusiasts will feel at home with this production, and while non-enthusiasts are unlikely to be converted (the RZ wasn’t), it’s a more entertaining lecture than the far more sensationalised pap mentioned above.
Both groups, however, should be outraged at the Ambassador Theatre Group for having the gall to charge £27.50 for this production. One man, a chair, and a single lighting preset doth not such a high price justify, and as one of the RZ’s companions pointed out, one could see a musical for that (or two or three fringe productions elsewhere). The show is touring, however, and will undoubtedly be cheaper at the Kingston Rose or Greenwich Theatre (it’s playing one of them....)
Where: Trafalgar Studios 2
When: M-Sa @ 19:45, Th/Sa @ 15:00 until 16 Feb.
How Much: £20 Mon. Eve, £27.50 all other performances
Concessions: Book by phone and mention “ATG Email Offer” to get £20 tickets. Students and usual suspects can likely get day seats as well.
----------------------
RZ Unofficial “Worth Paying”: £12.50. It would be worth top price at a smaller venue with a more reasonable price.
RZ Other Notes: Readers who have not seen the brilliance that is Slings & Arrows (a Canadian TV series about a Shakespeare festival) are deprived and should rush to the nearest R1 DVD store of their choice to pick up the new and highly affordable boxset. Also, both of the RZ’s companions commented on Trafalgar’s use of Dyson Airblade hand driers, officially making Trafalgar Studios the trendy place to use the loo in the West End.
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