The Comedy of Errors (RSC) Review

The Comedy of Errors

Royal Shakespeare Theatre, Stratford-upon-Avon

I have returned to Stratford-upon-Avon for my annual summer break . I will be catching up with the season's second theme, Shipwreck Trilogy, comprising The Comedy of Errors, Twelfth Night, and The Tempest. I will also be seeing the two latest productions, Much Ado About Nothing and for the first time Troilus and Cressida.

Back in March I went to see the National Theatre's live screening of their production of The Comedy of Errors and I thought that it lacked farce on an intimate level and was not brave enough to explore the play's darker tones. What is good about this production is that it manages to mix together the dark and farcical elements of the play. Whilst they occasionally overlapped, the play was still a farce in its own right whilst the Duke's (Sandy Grierson) strict reign was never forgotten between beginning and end. The twins of Syracuse (Jonathan McGuinness and Bruce Mackinnon) arrived as illegal immigrants climbing out of an imported crate. The first scene shows Egeon (Nicholas Day) being tortured by the Duke by being dunked head-first into a tank of water. Between each scene soldiers would march across the stage either playing the Ephesusian National Anthem, holding loudspeakers to broadcast the Duke's laws or hunting down immigrants from Syracuse.

On the otherhand whilst the slapstick moments were on top form, previous productions have been more creative by using the scenery and getting other characters involved. As an example, this production lacked a big chase sequence, which was quite a dissapointment. It would have been interesting to see how such an event can be performed on the thrust stage. The high point would have to be Doctor Pinch's (Jonathan Slinger) and his entourage of black clothed assistants. Otherwise the production does not surpass the National Theatre production's emotional ending.

However, what makes this a better production than the National Theatre's is that it was intimate and versatile. For example, when it came to using something as simple as a door for the twins to shout through to each other, the National Theatre's production was restricted by its grandiose set. In this production the cast only used one moveable door with aplomb, instead of a fixed door with an intercom.

Stephen Hagan, Jonathan McGuinness, Felix Hayes, and Bruce Mackinnon were great as the twin brothers. Hayes and Mackinnon in particular were very expressive and energetic as the comic servants, especially during the globe scene. This is however the first time I noticed that the director did not put enough effort into establishing the allusion that the twins were identical. Whilst I would overlook the different pitches in the servants' voices, Adrianna would have noticed that her husband had suddenly aged and shortened in height.

Sandy Grierson was an impressive Solinus, though his use of the loudspeekers became annoying. Nicholas Day was great as Egeon as he told the character's woeful tales. Emily Taaffe was a sweet and innocent Luciana, whilst Kirsty Bushell was an overpowering and furious Adrianna. Lastly, Jonathan Slinger returned to the play as a cameo in the role of Doctor Pinch, which he performed with grotesque panache.

The stage compromised of wooden boards, and during this trilogy it reminds one of a shipwreck. A tank of water appears from beneath the boards downstage, giving the appearance of the shoreline. In keeping with this waterlogged theme, an industrial dock is the setting for this production. Around the stage there were oil drums, containers, crates, sacks, anchors, netting, and buoys. An abandoned shopping trolly could also be seen within the murky water. A crane moved above the stage and brought on different pieces of scenery

This production is a step up from the National Theatre's production, though lacking in creativity during the physical moments. It is still a very good start to the trilogy and should be seen at a Bargain.

Heartbreak House Review

Heartbreak House

Festival Theatre, Chichester

To start off, this was the first time I saw a George Bernard Shaw play. I have seen My Fair Lady twice and it is a favourite musical of mine. This was also an opportunity to see Derek Jacobi, whose King Lear I regard as one of the best Shakespearean performances I have ever seen.

During the first year of World War I, Ellie Dunn (Fiona Button), her father, Mazzini Dunn (Ronald Pickup), and her fiance, Hector Hushabye (Raymond Coulthard), are invited to stay at Captain Shotover's (Derek Jacobi) house by his daughter, Hesione Hushabye (Emma Fielding), a friend of Ellie's. However things are not what they seem as hearts are broken and engagements start to unravel.

This is as much of the story as I can tell, because it is quite a challenge to understand it. I mentioned before that I am not a fan of Charles Dickens' wordy style, and now I find that Shaw's style in this play is the wordiest of the wordy. At first I understood that the play was following a household of pleasure-seeking members of the upper classes. However the use of grandiose words soon took over, and as deceptions were revealed and characters delved into each others' matters, I began to question what the characters were talking about in the first place. I even had to remind myself on several occasions what heartbreaking, which (apparently) was one of the leading themes of the play, meant.

It does not help that the characters felt a bit one dimensional. Most of them were in a world of their own within this setting of pleasure and there was little character development. I did not even care what happened to them when a zeppelin appeared near the end, a slight reference to the looming tragedy of WWI that Shaw uses to show how oblivious the characters were to the outside world.

The best aspect of this production are the actors, no matter how thinly drawn their characters were. Emma Fielding simpers with self-satisfaction as Hesione patronised certain characters. I was most confused by Ellie Dunn's story arc; she seemed at first to be taken aback by the lighthearted atmosphere of the household, but soon became as self-absorbed as the rest of the characters. Yet Fiona Button did well in playing this young and innocent character. Sara Stewart played Lady Utterwood like a child in her own little world. Raymond Coulthard played a sportsmanlike Hector Hushabye, and gave the only applauded moment in the production when he quickly covers up a savage mock fencing match with some press ups in front of Shotover

Captain Shotover was the highlight of the production, and I am not just saying that because Derek Jacobi is playing the role. Amongst all the conversations that was going on I preferred his perspective, no matter how strange or off-topic his comments were. By giving an innocent yet delusional take on the role, Jacobi gave a great performance.

Apparently the house that the play is set in is meant to allude to a ship without a rudder that contains different members of society. If that is the case then apart from the occasional nautical object and Shotover's commands as though he is still on a ship, there is little to suggest this theme. Otherwise I liked how the production showed that the characters were in their world of fantasy by occasionally using dreamlike music as characters would appear and disappear mysteriously outside the windows.

I may not be the right person to say whether this is a good George Bernard Shaw play or not, but as a beginner to his plays I can definitely say that this is not a good introduction. Derek Jacobi is really the saving grace of this production, but unless you can understand the most complex of conversations this is only worth seeing at a Restricted View.

Antigone Review

Antigone

Olivier Theatre, London

I remember studying Antigone at college and was intrigued to see this production because it had been receiving favourable reviews. I was particularly interested in seeing Doctor Who veteran Christopher Eccleston playing the tragic leader in this production.

The production is not set in its own time period. Rather, it is set into today's world of a modern block of offices. However this did not work because the production is a translation of a Greek tragedy, a dramatic genre that has been overwhelmed by the artistic ideas used to create the modern setting. Instead of the chorus speaking as one during scene transitions, as would be the norm in a Greek Tragedy, lines were given to individual members. Whilst this looked interesting, I still remember the chorus singing their lines wonderfully in the National Theatre's Oedipus, and I rather missed this effect. Most of the characters' first entrances were not dramatic, especially Creon's, who is seen clearly bracing himself to play the role of king before walking in. Also, whilst I was looking forward to the tragedy that ends the play, putting it into a modern setting made it feel under dramatic. Furthermore, not even the modern setting could hide the Greek elements, particularly near the end, and these then looked out of place in a 20th century world.

Yet the cast were excellent in their roles. Christopher Ecclestone was a rather calm, yet firm and hardworking Creon. Yet as his leadership is called into question he lashes out, and laughs at the idea of listening to the people of Thebes. His patience wears thin as members of his family plead with him to forgive Antigone to the point where he becomes violently angry. When the ending came, whilst speaking with sorrow to the point of wailing, he does not break down entirely.

Jodie Whittaker plays a strong willed Antigone, who defies Creon and antagonises the chorus. Luke Newberry was a skinny and young Haemon, yet he was well spoken as he defiantly pleads with his father to repeal the sentence against Antigone. Luke Norris played the part of a nervous soldier who had to bring Creon the news that his laws have been defiled, all the time reassuring Creon that he was not a defiler. Jamie Ballard, as Teiresias, produces a terrifying prophecy and sobs at Creon's defiance, before yelling at him to make amends before it is too late. Zoe Aldrich, as Eurydice, played the part of Creon's fearful wife with calm determination in the face of the tragedy that unfolds in front of her. The chorus did well in giving their perspective on the events, from stunned silence to pure terror as the prophet forebodes the tragedy.

At times the set produced some interesting moments. It mostly consisted of chairs and desks, with papers and old computers stacked on top, around three glass cubicles. The Olivier Theatre's turntable would turn to reveal a corridor with grey cement walls that was only used twice; the most significant being the first scene in which Antigone meets Ismene secretly. This was effective in establishing Creon's hold on Thebes, as the two girls talk with their backs against the wall whilst checking for any nearby sounds. The death of the two brothers was indicated as the chorus watched the fight live from a screen, which reminds one of the image of Obama watching the attack on Osama Bin Laden's last hideout. The prophet's entrance is announced with the lights going out and machines starting up uncontrollably, signifying the gods' displeasure. Sounds and music were used to show the hustle and bustle in the offices, as the chorus went about their business.

The style of the original text was overshadowed by the ideas that were introduced when designing this production, which made the integral drama of this play feel flat. These ideas however were impressive, and the acting is good enough to see at a Bargain.

The Resistable Rise of Arturo Ui (Minerva Theatre)

My knowledge of the Brechtian style came from drama in College, during which I saw my first Brechtian play on a trip to see the National Theatre's production of Mother Courage. In terms of a Brechtian production, I felt that it fell short in achieving the techniques required, leaving me disappointed. I therefore went to see this production of The Resistable Rise of Arturo Ui hoping to see a better Brechtian production.

The story follows the rise of a gangster called Arturo Ui (Henry Goodman) in 1930s Chicago. The play compares this story to Adolf Hitler's rise to power, and connections were made between the characters and certain people in real life. City leader Dogsborough (William Gaunt) represented Paul von Hindenberg, whilst Artuto's henchmen, Ernesto Roma (Michael Feast), Emanuele Giri (Joe McGann) and Giuseppe Givola (David Sturzaker), represented Ernst Rohm, Hermann Goring and Joseph Gobbels. Connections are also made between each scene and the events during the rise of the Nazi party, from the burning of a warehouse (the Reichstag fire) to the Dock Aid Scandal (Eastern Aid Scandal).

My problem with Mother Courage was that although the production was making every effort to use  Brechtian devices, including the placards, the sparse stage, and having the backstage team onstage, the rock music that was used turned the production into a rock concert. This deviated away from one of Brecht's main techniques, which is not to make the audience emotionally involved but provide a thought-provoking play, and I came out of Mother Courage with the music stuck in my head. 

In comparison, this production uses the Brechtian techniques and got it right. Before the production starts the audience is introduced to a speakeasy, and onstage a band plays some imperceptable, but light hearted music, a tone that is used throughout the production to provide a contrast to the dark messages of the play. The play is introduced by a worker of the speakeasy, who mentions each main character involved in the upcoming events and their attributes, all of whom were sitting around the speekeasy.

Placards were not used, however the legends that told the rise of Hitler were included in the programme. The audience saw the cast bringing on and off pieces of the set, taking away any illusion of scene transition. What is more, it was interesting to see the connections between Arturo Ui and Adolf Hitler. Whilst the farcial elements made for some hilarious moments, by the second half it was clear that Arturo was becoming Hitler and the ending was shockingly provocative

Henry Goodman was great as Artuto Ui, and he did well in following the character's journey. The audience observed Arturo changing from a hunched, beady eyed, wreck, into a leader. However he was a leader who displayed paranoia as witnessed when he jumped at the sound of the piano he was trying to lean on, before he checked inside for a bomb.

Goodman's highlight came when he practiced Mark Antony's speech from Julius Caesar with an actor, in order to improve his appearance as a leader. He takes the actors instructions with glee, almost child-like, no matter how ridiculous they were, which made the scene hilarious. This was also the point that his gestuses were making it clear that he was becoming Hitler, to the point where he ended the scene goose-marching off stage whilst doing the heil salute, which was met with a round of applause.

Most of the cast members did not have a prominant role in the play, thus sticking to the Verfrumdungseffekt technique, however there were some who had their moments during the play. At first, William Gaunt was a puffed up, proud, and self-assured Dogsborough, who is followed everywhere by his weedy son, Young Dogsborough (James Northcote). Whilst he took a step back as Arturo  began to take over, the second acts begins with his epitaph, in which he remorsefully regrets the decisions he had made earlier.

Lizzy McInnerny provided a humane perspective to the play. She performed a shocking scene in which she played a badly wounded woman who screams out for help in the streets after her family is shot down by mobsters. She later plays Betty Dullfoot, whose husband is killed for opposing Arturo. When forced to join Arturo's cause, she breaks down and pleads forgiveness from her deceased husband.

The set did well establishing the setting of Chicago's underworld. The background consisted of brick walls, metal gangways, fireescapes, archways, barred windows, air conditioning fans and alleyways. Yet the overall set was colored in black and shrouded in darkness, making it feel less naturalistic, and more minimal, whilst establishing the bleak world of Arturo Ui.

The Resistable Rise of Arturo Ui was a satisfying and thought provoking Brechtian production. It was so much better than the National Theatre's Mother Courage and is worth seeing at a high Top Price.

Top Price

Julius Caesar Review

Julius Caesar

Royal Shakespeare Theatre, Stratford-upon-Avon

I have previously seen two productions of Julius Caesar. One was the 2006 Complete Works Festival production by Sean Holmes, which I can only remember vaguely. The other was Lucy Baileys 2009 production, which allowed style to overshadow substance through the constant use of video projections. However I was excited to see the play being set in an African setting, under the guidance of my favourite Shakespeare director, Gregory Doran.

In comparison to the 2009 version, this production was character driven, and the actors were excellent in their roles. Jeffrey Kisson presents an old and overweight Caesar. Whilst tired and weary, his Caesar is a firm and proud leader who looks to become king. Ray Fearon meanwhile was the highlight of the production as the charismatic Mark Antony. At first he is shown as a laid back, young man in casual clothes. Yet his "Friends. Romans, Countrymen" speech was ferocious, and together with the passionate chanting from the crowds the speech was charged with grief and rage.

Paterson Joseph gave a very interesting performance as Brutus. In showing this complex character, his Brutus seemed to have personality traits that were similar to Antony and Caesar, the combination of which would prove fatal for him. Like Antony he was charismatic and easy-going. He wore casual clothing which contrasted Cassius' military style uniform. Yet like Julius Caesar his Brutus was a proud one, who spoke with brashness and joviality, especially when he decides to let Antony live. Even before the Battle of Philippi, he walks around in a vest and acts with brazenness when Cassius angrily confronts him. From the very start one wonders whether Cassius would have been the better leader for the conspiracy.

Elsewhere, Adjou Andoh played a strong willed Portia. Joseph Mydell was an eccentric Casca, who hints at Caesar's true motivations when he describes the leader's reaction to being offered the crown. Theo Ogundipe plays a more prominent role as the Soothsayer. At times he comes on during scenes that do not include him, in order to hint at the events that have yet to happen. His voice sounded unearthly as spoke "Beware the Ides of March", to which the crowd clicked their fingers as though mentioning this unfavourable day was bad enough. There is a sense of spiritualism around this character, who is covered in chalkish paint and wears traditional clothing. He even observes Caesar's assassination, and as the scene leads up to the moment he looks up at the sky and his body seemed to pulse intensely. Once Caesar is dead, he fell to the ground and became almost animal-like.

Whilst the set never takes over in this production, it was very impressive. The stage is laden with stone slabs and it reminds one of the ruins of Ancient Rome. Beyond a flight of stone steps, a large statue of Julius Caesar stands before a wall of metal sheets and dominates the background. I must say though that apart from the occasional statement, the production never had a lot to say on it's African setting. If there was one thing I would give Lucy Bailey's production props for, is that it always had something to say about Ancient Rome and the way it manifests itself in violence, even if it did overshadow the acting.

What is great about this production however, is that they integrated Julius Caesar into this new setting so well. Before the production even starts, the citizens of Rome are seen out on the streets in colourful T-shirts, waving banners, lying on the ground fanning themselves in the heat, and dancing to some African music, as they celebrate Caesar's victory over Pompey. The whole show felt as if the play has been set in Africa all this time. Praise to the members of a band, aptly named The Vibes of March, for providing some excellent musical pieces, particularly after the performance when they came into the foyer to play some more music.

Out of the three I have now seen, this is the best Julius Caesar production so far. It was not a thought-provoking production, yet it did well in setting the play in Africa to the point where it looked genuine. Attention was given to the characters and the actors did wonders playing their roles, especially Ray Fearon as Mark Antony. This production is worthy of a Top Price.