Shakespeare
Marianka Swain
It begins promisingly, a dark Gothic fairy tale – both Grimm and grim. The writhing witches (four, oddly) are summoned from a pile of dead bodies, Stefan Fichert’s eerie puppetry all chopped-up limbs and interchanging demonic heads, hands scuttling across the floor like a spider, and disembodied voices chanting and haunting. Then the spell is broken and “what seem’d corporal melted”.Unfortunately, that’s also when the air goes out of Iqbal Khan’s lacklustre production, which plods along from one incident to the next without any clear intent. Ray Fearon’s Macbeth is a mellifluous speaker Read more ...
Marianka Swain
As we finally go to the polls, casting votes based on our view of national identity and Britain’s place in the world, here comes Shakespeare’s ever-topical play. Robert Hastie’s thoughtful take is contemporary dress but stripped back, not so much holding up a mirror as inviting us to project modern concerns onto it.Of course certain elements ring out in the current context, from negotiations with a supercilious French representative to the fraught justifications for foreign conflict and fractured clans back home. So, too, does the Chorus’s direct address, asking us to summon vast battlefields Read more ...
Matt Wolf
"I can add colours to the chameleon," Richard III remarks of himself early in his anguished, marauding ascent to the throne, and the description could equally apply to the electrifying actor, Ralph Fiennes, who is London's latest hedgehog/dog/toad/bottled spider (pick your animal imagery of choice).Marking his third London stage appearance in 16 months, Fiennes may be older than most modern-day Richards but he cuts more deeply as well, his Almeida return coupling flashes of the charm this actor brought last year to Man and Superman with liberal dollops of the gathering psychosis in which Read more ...
Simon Evans
Doctor Peter Raby (Emeritus Fellow at Cambridge University) was quick to pull me up on my first stab at A Midsummer Night's Dream – an indulgence-of-a-production played out in a university park to the sound of cucumber flirting with Pimm's. His grounds were that I had failed to acknowledge the mortal danger facing those errant elopers, Hermia and Lysander. He had, he said, expected better of me.Revisiting the play a decade on (I take criticism slowly) I see his point: in turning their backs on the ancient law of Athens and fleeing seven leagues, the pair openly defy the patriarchy of the Read more ...
alexandra.coghlan
There’s a problem with The Taming of the Shrew, and it isn’t the one of Shakespeare’s making. So legendary are the work’s difficulties, so notorious its potential misogyny, that each new production can feel like a proffered solution, a defence of an attack that has yet to be made, rather than a free dialogue with a set of characters and a story.The joy of Caroline Byrne’s new production for the Globe is precisely its ease. She doesn’t so much wrestle with the text as surrender herself to its flow, whether that carries her to dark places or light. The result is a show that’s half comedy and Read more ...
Richard Bratby
“Our Shakespeare” is the name of the CBSO’s current season. They're making the same point that Ben Elton makes slightly less subtly in Upstart Crow: that Shakespeare was basically a Brummie. And by implication, that four centuries of musical Bardolatory, from Purcell’s The Fairy Queen to Verdi’s Falstaff, is all on some level Made in Birmingham. Falstaff, conducted by Edward Gardner, is coming next month; the usual Shakespearean warhorses (Prokofiev, Walton, Tchaikovsky) have already been despatched. That left tonight’s “Seven Ages of Shakespeare”, which, like any concert that puts Purcell Read more ...
Matt Wolf
Theseus was a tablet-carrying dictator, Lysander a sweet-faced asthmatic, and Peter Quince rechristened Mistress Quince in the agreeably unexpected presence of Elaine Paige: those were among the innovations of Russell T Davies's larky reworking of what must these days be Shakespeare's most frequently performed play. (A third London production in as many weeks starts performances May 31 at Southwark Playhouse.)On paper, such textual intervention sounds like so much jiggery-pokery, and I could have done without the action-movie theatrics that at one point saw an imperiled Hermia (Prisca Bakare Read more ...
Marianka Swain
Trouble remembering in which country Shakespeare’s star-crossed lovers cross paths? Branagh’s panting paean to Fellini will sort you out. Stylish as a monochromatic Vogue spread, and as self-consciously Italian as Bruno Tonioli guzzling lasagne in a gondola, it’s not exactly a triumph of cultural nuance. Capulet is a sharp-suited mafia don who makes an affected entrance sipping espresso, the Prince is a fascist enforcer, al-fresco dining is interrupted by fiery gesticulation, and every loss is met with operatic wailing.In this context, the high-speed courtship and resulting fallout seem Read more ...
Matt Wolf
Benedict Cumberbatch, it turns out, was born to play the blasted, blighted Richard III, as one might expect from an actor whose long-term apprenticeship to both classical theatre and television converged to bring the BBC's Hollow Crown series to a surpassingly bleak if potent finish.Those who associate Shakespeare's "bottled spider" with various excuses through the years for overindulgence and/or camp got instead a portrait of gathering psychosis that was considerably more biting and bitter than has generally been true of this play of late. Along the way, its visual command confirmed director Read more ...
Ismene Brown
According to Sellar and Yeatman in 1066 and All That, the true Bible of English history, King John was a Bad (to be exact, an Awful) King. Shakespeare had quite an interest in Bad Kings – Richards II and III were also subjected to his selective dramatist’s forensics, and like Sellar and Yeatman he only remembered the bits he wanted to remember, and then partially. Hence no Magna Carta in King John, no losing of the Crown Jewels in the Wash, and the monarch dies at operatic length of poisoning, rather than the unglamorous realities of dysentery.The play, which the Bard left Read more ...
Graham Rickson
Mozart: Serenade in B flat major, 'Gran Partita', Royal Academy of Music Soloists Ensemble/Trevor Pinnock (Linn)Mozart's Gran Partita is a multi-movement work longer than many romantic symphonies, hardly what we'd expect from a serenade. It's miraculous stuff, of course, a sublime blend of earthy charm and sensuality. The best performances know when to keep their feet securely on the ground, and this one is among them. Many readings employ a double bassist, but Trevor Pinnock uses a contrabassoon, arguing that Mozart would have preferred one had 18th-century contrabassonists been up to the Read more ...
Matthew Romain
A few days after two Taliban rockets had quivered in the Afghan skies above us, I found myself looking up at an altogether different set of heavens in the Sistine Chapel. Moments of reflection on this tour were, out of necessity, brief; our schedule, out of necessity, hectic. Contrasts were commonplace. Vatican City was our 191st country, and our two-year tour to play Hamlet to every nation in the world was rolling rapidly to its conclusion.A friendly priest who'd enjoyed our performance the night before had been showing us round, jumping queues and hopping barriers and peeking into closed- Read more ...