Richard III Review

Richard III

(Swan Theatre, Stratford-upon-Avon)

My holiday in Stratford-upon-Avon continued with the Nations at War season's second offering, Richard III. This play about a deformed man plotting to take over the throne of England is one of my favourite Shakespeare plays. However I was slightly dubious about the fact that Irish actor, Jonjo O'Neill, was playing the title role, especially after seeing his graphic, albeit funny, Queen Mab speech as Mercutio in Rupert Gould's 2010 production of Romeo and Juliet. I felt he would be too young for the role, although the real Richard III was about his age when he died. I guess that the Richard IIIs I have seen were older than Jonjo when they played the role, e.g. Laurence Olivier, Ian McKellan and Kathryn Hunter, or else appear ideal for the role, like Jonathan Slinger. This production was therefore a different take on the play for me.

This production can best be described as light-hearted. Having seen Michael Boyd's Histories, I realised that I was once again seeing a stand alone Richard III production that does not necessarily need to reflect upon Shakespeare's first tetralogy. I was not entirely convinced by Jonjo O'Neill's 'Now is the winter of our discontent' speech, but as soon as I realised what direction the production was taking I warmed to him. He is not the 'bottled up spider' that I would imagine (Shakespeare's) Richard to be. He only had a raised shoulder, a slight limp, and an injured (or cursed) hand, whilst his hair was sticking up. Instead, he is a darkly humorous Richard, as he revels in his announcement to become a villain. He emphasises Richard's quips, such as casually giving one of Henry VI's coffin bearers his 'was ever a woman of this humour wooed' line to be met by no response, before giving the next line to the nearest member of the audience, each time starting by saying 'hey'. This was a nice touch which allowed him to connect to the audience.  However, it might had been nice though if his attitude and reactions had changed as events became more serious by the end. In fact it felt as though director Roxana Silbert was struggling to change the mood for the Battle of Bosworth, thereby leaving a rather subdued and forgettable ending.

This is also the first time I had seen a Richard III production where I could tell that a number of Richard's supporters like Buckingham (Brian Ferguson) and Catesby (Alex Waldman) were being played by young actors. The production was emphasising that a younger generation was taking over the country from the older generation comprising Edward IV (Mark Jax), Elizabeth Woodville (Siobhan Redmond) and Lord Hastings (John Stahl). I also liked how Richard was being portrayed as less the evil mastermind and more a man who plotted the first few steps to taking the throne, but did not foresee what would happen as a result. The moment when he addressed the people of London was clearly thought up at the last minute. Hearing people struggling to prepare the event backstage was a nice idea, though the comedic side to it did become tiresome. Elsewhere, despite short in stature whilst wearing baggy clothing, Paola Dioniscotti was a wild yet strong Margaret, as she stamps the floor and points at the members of the Yorkist family cursing their eventual demise. Natalie Klamar also played a strong Elizabeth of York who maintained her dignity, yet languished at the news of the young princes' death.

I liked the grey metallic walls at the back of the stage which gave an impression of a prison, though as a background to the humour it felt out of place apart from the scenes that required a prison setting. It did however allow some striking shadows and colourful lighting. I did not know what the idea was behind the hanging bulbs above the stage. I was half expecting some electrifying motifs during such moments as Margaret's curses, yet they were just there. The music that came in on cue at times also felt unnecessary and annoying at times.

This whimsical approach was well supported by a young cast which made the production enjoyable to watch. In turn it allowed me to appreciate Jonjo O'Neill's Richard III even more. It was however a mixed bag at times and was not well supported by the later events of the play and the overall design. Also, having seen two of the three productions I have to wonder how the contents of these two productions link into the theme Nations at War. Neither seemed to have a clear idea what war between nations meant to them, but just danced around the subject. This however, like King John, is worth seeing at a high Bargain

King John Review

King John

(Swan Theatre, Stratford-upon-Avon)

As part of the World Shakespeare Festival, the Royal Shakespeare Company is putting on plays within two different themes, Nations at War and What country friends is this. I will see the latter's offerings during the summer, but for now I will review two offerings from Nations at War, King John and Richard III. As the title suggests, the theme is built around countries at war and the  resulting effects for the countries. First up is King John, which is also the second Shakespeare play I saw for the first time this year.

Following the death of Richard I, his brother King John (Alex Waldmann) succeeds to the throne. However his claim is challenged by the French King Philip (John Stahl), who supports John's nephew Arthur as claimant. Meanwhile, before going to France John has a bastard of Richard's (Pippa Nixon) knighted. Conflict between England and France ends when it is proposed that Philip's son, Louis the Dauphin (Oscar Pearce), should marry John's niece, Blanche (Natalie Klamar). However war breaks out again when John denounces the Pope, after he is accused of interfering of the choosing of an Archbishop of Canterbury. John is victorious and takes Arthur prisoner, yet his extravagance and the apparent murder of Arthur causes his nobles to rise up against him

The overall idea behind the production is an odd one to describe. Starting with the designs would be best because it is more of a visual production than anything. The overall design of the set is that of a party, which eventually happens by the middle of the first act. At this point the set reminds one of a local community hall hired for such an occasion, with cheap looking carpets covering the entire stage. Large balloons are held within some netting at the back, and remained there until the second act during which they come bouncing down a large set of stairs. By the end the whole stage is littered with balloons, bottles and party hats, symbolising how money is being frittered away under King John's rule.

The choice of costumes was rather confusing at times. Understandably John and his followers were dressed up in colourful and casual costumes, except during wartime when they would dress smartly in uniform. The French however were a mix of casual and formal, especially during wartime. Even John Stahl in a light blue uniform looked outlandish, despite his angular and commanding face. The pope's messenger Pandulph (Paola Dionisotti) though, looked like something out of The Matrix or Men in Black by wearing black clothing and tinted glasses, thereby establishing the papacy's power to change alliances and manipulate events. Meanwhile, rhe English nobles looked like traditional versions of Shakespeare's characters, by wearing military and dark clothes during the entire production.

The theme of leadership is apparent in this production. King John is one of Shakespeare's least known plays due to its episodic structure. The first half shows King John celebrating his succession. The second half shows the consequences of King John's style of kingship. This contrast is shown in this production. Act one gives us a 5-10 minute party sequence, whilst the second act shows the English Nobles striding though piles of balloons and bottles to confront the King. If I do have an issue, it is that for all the visual moments this production has it spends little time on the messages it is trying to convey. The episodic structure may be the cause of this, but a sense of the growing consequences would have been nice during the first act. The theme of nationalism for one is only shown briefly at times. The Bastard comes on at the start and plays Rule Britannia on a guitar, and a neon sign was revealed behind the balloons, which said for god and england, but that was just about it. If director Maria Aberg had focused less on the visuals and more on the context then this production would have been more meaningful than it is.

That it is not to say that this production was not entertaining in the acting department. Alex Waldmann played King John with energy and playfulness, as he struts around the stage, cigarette in hand, whilst posturing towards the French. Yet he had a determined edge as he gave commands with resolution, especially when his decisions would have been seen as immoral by others. As his grip on power loosens however, he becomes a sorry sight as he tries to attempt a dance number whilst imagining one of his previous moments of glory. Changing the gender of the Bastard would seem odd, but Pippa Nixon was feisty as the character. It was easy to connect with her during moments when it was clear that the action was being shown from her point of view when she talks aside to the audience. She also brought a moral side to a number of scenes in the second act, which made her actions credible. The others played their parts well within the light hearted direction the production was taking, though I did not like some the decisions that were made. The people of Angers for example were shown as stereotypical Frenchmen with trench coats, berets and moustaches.

I like radical changes to plays. Rupert Gould's The Merchant of Venice was a very entertaining take on the play by setting it in Las Vegas. I enjoyed how this production took a different direction for this history play, but what was great about The Merchant of Venice was that it had a point to make. This production was showing different themes in the play with style and huge amounts of energy from the leading actors, yet never had anything to say about them. This is worth seeing at a high Bargain.

Uncle Vanya Review

Uncle Vanya

(Minerva Theatre, Chichester)

Like Salisbury Playhouse, the Chichester has put on some strong productions during the last few years. The difference being that it attracts some well known actors, actresses and directors, and a number of its productions have transferred to the West End, such as the currently residing Singin' in the Rain and Sweeney Todd. As a starter to its 2012 festival I was therefore looking forward to seeing Anton Chekov's Uncle Vanya for the first time, starring last year's Laurence Olivier Award winner Roger Allam, and Timothy West.

Professor Serebryakov (Timothy West) returns to his first wife's house in the countryside, along with his second wife, Yelena (Lara Pulver), and his daughter from his first marriage, Sonya (Dervla Kirwan). The estate has been maintained by Vanya (Roger Allam), the brother of the professor's first wife for many years, along with the rest of his family and servants. All the characters regret the position they are in, whilst sexual tensions arise between Vanya, Yelena and the local doctor, Astrov (Alexander Hanson). Conflicts come to a head when the Professor announces his plan to sell the estate.

For his first entrance Roger Allam lumbering onstage suffering from a hangover with his hair unkempt, showing his misery after many years taking care of the estate for the Professor, whom he hates. His mannerisms are perfect for this melancholic character, as he wearily makes sneering remarks about the Professor. Elsewhere he flirts with Yelena like a hormone driven adolescent. After the Professor makes the announcement he tears apart some roses and lets the petals fall through his hands to the ground, before bursting out in anger at his plan. Lara Pulver first appears as Yelena like an enigma as she goes into the house in pure white without saying a word. As the play progresses she becomes overcome by the attention she was receiving from the men. Dervla Kirwan  a modest yet compassionate Sonya and the ending moments of the play produced a heartwarming moment. With the addition of Roger Allam, this was the high point of this production. Timothy West played the his professor character as a realist, and as the outbursts started after his announcement, the reality of the situation becomes clear from his point of view, no matter how Vanya viewed it.

Indeed before that scene it seemed as if the play was showing a one-sided view by focusing on Vanya more than the Professor. Even the tranquillity of the world that he was trying to preserve is dominant in the scenery. Nature seemed to be a part of the house, with birch trees scattered around edges of the stage. These trees are also seen at the back of the stage through the line of windows set in the back wall of the house. Even the brown and light colours of the costumes the characters wore reflected the world they lived within. Other nice touches were the rain that came pouring down behind the wall at one point, and the sounds of birds in the background.

This production was a well directed and performed delight. Plaudits also go to the designs, which conveyed the world of Uncle Vanya. Yet it was the final and emotional moments that gave this production a high Top Price.

The Seven Year Itch Review

The Seven Year Itch

(Salisbury Playhouse, Salisbury)

For the last few years the Salisbury Playhouse has surprised me. It has put on some fine productions such as A Taste of Honey, Arsenic and Old Lace, and Private Lives. I was even impressed by the way they would go to great lengths when designing and constructing the sets, from the van in The Lady in the Van, to a temporary theatre-in-the-round for last year's Way Upstream, with the stage consisting of a water tank with a real boat within. I was quite interested in seeing one of their first productions this year, The Seven Year Itch, a 1952 play by George Axelrod on which the 1955 film with Marilyn Monroe was based. But does this production hold up to the Playhouse's preceding productions?

A publishing executive, Richard Sherman (Gyuri Sarossy), stays in his apartment whilst Helen Sherman (Hattie Ladbury), whom he had married seven years ago, and his son go on their summer holiday. He meets a girl (Verity Rushworth), a model who is living in the apartment above him, after her tomato plant of hers falls and narrowly musses him on his balcony. He becomes attracted to her and invites her down to his apartment. His growing desires leaves him divided between his wife and this girl.

The best moments of the play are when Richard Sherman is on his own, during which he breaks the fourth wall and tells the audience his thoughts. This slice of life was quite interesting to observe, and Gyuri Sarossy was convincing as an 'average joe' who tries to fight off his desires for the girl. It almost felt as though I was sitting in his apartment and chatting with him like an old friend. I would have preferred to listen to him  rather than Verity Rushworth as the 'girl'.

Fortunately I have not seen the film, so I cannot start comparing Rushworth to Marilyn Monroe. She does show the girl's naivety to Sherman's advances. Yet she did not seem convincing as a girl who would attract Richard to the point where he would go back and forth between her and his wife with such passion. Any further advance made by Richard did not seem believable. I even wondered whether the tomato plant incident was a moment of ambiguity. Was it an accident or intentional? Yet Rushworth made this sense of ambiguity feel void of any need to consider.

Otherwise the supporting cast members provided some comedic and entertaining moments during the play. Gerard Murphy plays Dr. Brubaker, a psychiatrist who has his novels published by Sherman, a large, puffed up man who attempts to assess his publisher's desires. Hattie Ladbury and Michael Stevenson play Helen Sherman and Tom Mackenzie who, according to a suspicious Richard Sherman, is her supposed to be her lover. They play the love scenes Richard imagines dramatically

These imaginary scenes were well stylised. The set would be lit in pinks and blues to show Richard's neurotic mind. The scenes were played as though they were straight out of a movie, the high point happening during the second act, where a homely scene takes a dramatic U turn. Again the Salisbury Playhouse has done wonders creating a big apartment onstage, with kitchen, balcony, staircase and piano included

Once again the theatre has proved that a local in-house production can pull the stops out to create a detailed setting. The supporting characters brought some great moments to the production, yet the main elements of the story could not carry the production entirely. Gyuri Sarossy could on his own, yet Rushworth did not have the charisma to pull off the alluring girl that Sherman madly falls for. This overall is worth a low Bargain

Measure for Measure Review

Measure for Measure

(Swan Theatre, Stratford-upon-Avon)

I am looking forward to seeing four Shakespeare plays new to me onstage this year. This is mostly due to the World Shakespeare Festival that is taking place this year, during which I will be seeing King John and Troilus and Cressida at the RSC, and hopefully Timon of Athens as part of the National Theatre Live Season. Outside of this festival, the first play I have just seen is Measure for Measure, one of Shakespeare's later problematic comedy plays, which is an intriguing story, different from the usual Shakespeare comedy.

The Duke of Vienna, Vincentio (Raymond Coulthard), announces his intentions to leave the city for a while, during which his trusted deputy, Angelo (Jamie Ballard), would be left in charge. In fact the Duke secretly remains in the city dressed as a monk, so that he can observe Angelo's regime, which turns out to be strict. Under his new laws against sexual licence, Angelo has Claudio (Mark Quartley) sentenced to death for making his lover Juliet (Sarah Ovens) pregnant before they are lawfully married. Claudio asks his sister Isabella (Jodie McNee), a novice in a nunnery, to go to Angelo and persuade him to pardon her brother. Angelo asks a horrified Isabella to defy her beliefs and have sex with him before he pardons Claudio. The Duke secretly helps Isabella find a way to free her brother.

Sexuality was the main theme of the production from the get-go. There is a sense that Vienna is built upon strip-clubs and brothels, as leather clad men and women participate in sexual acts. Even the Duke wears a tightly fitted corset, and during the scenes that were set in his palace there were always two women standing with spiked leather lampshades worn over their heads. However, it is unclear why they remained whilst Angelo was in charge. Claudio and Juliet were first shown in chains with fetish pieces attached to shame them. It was interesting to see a mix of both sixteenth century and modern undertones to the theme, showing that attitudes to sex are no different now to the 16th century. If I did have an issue, it would be that as the play progressed the theme was used less and less, and the setting became primarily sixteenth century. It was a shame that director Roxana Silbert could not have taken the theme all the way through the production.

Raymond Coulthard dominates the stage while carefully planning how to deal with Angelo. From the start he shows that he is in control by clapping to bring down the house lights. He even gives the impression that he manipulates the events that take place, revealing rolled up letters out of nowhere, giving a bewitching edge to his supremacy. Jamie Ballard presented Angelo as someone who would object to the sexual deeds that were taking place in the city, yet struggled to stand by his laws when Isabella was pleading with him to free her brother. The moment when he falls for Isabella was interesting, because he is taken aback and becomes bashful. This however made his sudden desire to have sex with her out of character. Jodie McNee plays the virtuous Isabella with frailty, yet firm in her compassionate support for her brother when some of the other characters would write her off as collateral damage. Paul Chahidi plays Lucio, a bachelor and friend of Claudio who at first helps him, yet changes sides every time he sees an opportunity that benefits him, without consideration of people like Isabella. Paul plays this slippery man with flamboyance and glee, and it is hilarious seeing his reaction the moment when everything goes wrong for him.

In fact there was a number of entertaining supporting characters who brought some colourful moments to the production. There is a subplot where a rogue named Pompey (Joseph Kloska) is imprisoned for his involvement with the brothels, and is given the option to become an assistant to the executioner, Abhorson (Youssef Kerkour), for which his crimes will be forgiven. Here we are given another angle on society in Vienna from the confines of the prison, and Kloska gave the audience a hilarious moment describing the crimes committed by some of them. Plaudits must also go to Daniel Stewart as Barnardine who staggered drunkenly from beneath the stage, refusing to be executed. Elsewhere, Ian Midlane played Elbow as an overweight man child who would throw tantrums in frustration. Annette McLaughlin played the owner of a brothel, Mistress Overdone, who faces her loss of livelihood with dignity. This play has so many characters that represent different parts of society, and the actors played them with embellishment and clarity.

The design too brought a colourful edge to the production. Adding to the theme of sex, the set at the back was dominated by long, hanging, leather whips. With certain lighting they brought some depth to the scenes. At one point the Duke stood behind them whilst eavesdropping on a conversation, and by the end they were raised for a grand entrance. Their length also gave a sense of scale, and the lighting helped to establish such scenes as the dungeons, the streets of Vienna and the flora within Mariana's (Catherine Hamilton) garden. The traditional theme of the underworld beneath the stage is also put to good use as prisoners lumber to and from their cells.

I hear that this is a difficult play to put on, but this is the first time I have seen a production of this play and I found it both easy to follow and entertaining. The characterisations were colourful and the production went to great lengths to establish the sexual attitudes that were rife within Vienna. For newcomers to the play this is easily worth a high Top Price.