Jude Evans reviews The Merchant of Venice

Directed by Rupert Goold

Royal Shakespeare Company, Royal Shakespeare Theatre, Stratford-upon-Avon

Wednesday 18th May 2011



Photo: Ellie Kurttz



Yoda, Batman, an Elvis impersonator and a Barbie doll Portia – Goold’s production has it all. There are lots of laughs to be had; Goold certainly shows what makes this play a comedy. But, whilst emphasising the comedic elements, the play’s problematic side also rears its ugly head with considerable force. Goold shifts us from the hilarious to the utterly uncomfortable and grotesque in a production which truly grasps what Shakespeare’s play is about.

Goold thrusts his audience into a Las Vegas casino with showdancers, extravagant costumes and Elvis songs, sung by Jamie Beamish’s thoroughly entertaining Launcelot Gobbo. Tom Scutt’s design is striking for its gaudiness, bright blue with gold-railed staircases and an image of a golden-haired Vegas woman at the top, disturbingly resembling the shape of a cross. Initially, I wondered what I had walked into, and it took a good half hour to see how a Las Vegas setting could speak to Shakespeare’s beautifully problematic play. Despite the occasional moments when the American accents detract from the lyrical language, the result is: it works.

The Las Vegas setting reveals a world of excess and obscene wealth, where money is part of an ongoing game, constantly being exchanged from one pair of hands to another. Scott Handy’s Antonio is a man made ‘sad’ by his gambling losses, and Patrick Stewart’s Shylock is the grand master unusually assimilated into the Christians’ world. Pretence and falseness, both to oneself and to others, appear governing forces in a society of self-seeking individuals. Goold’s production reveals an incredible truth about Shakespeare’s play, that all the characters possess a cruel, unpleasant nature, and to sympathise with any verges on being absurd.

A shared racist attitude towards Shylock, and indeed the princes of Morocco and Aragon, steadily builds over the course of the production, culminating in Portia’s remarkable vindictiveness in the court scene. Stewart’s initially integrated Shylock is forced to envelop himself within a Jewish identity; he dons a cap and performs a short dance as an affirmation of his Jewishness, a beautiful touch. Stewart’s is an understated performance, one which effortlessly captures Shylock’s transition into a man driven into isolation and increasingly, also disturbingly, obsessed by the reward of a pound of flesh.

Challenging preconceptions, Goold places Portia at the centre of his production. And it is here that Goold makes his boldest move. Rather than the perfect heroine in her idyllic green world, Fielding’s Portia and her Belmont reflect the money driven city of Las Vegas. She is turned into a reality T.V. star, and her casket challenge a game-show, Destiny. This striking, southern-girl Portia appears a figure of superficiality until she surprisingly whips off her glamourous blond wig in front of Bassanio, revealing the face behind the celebrity doll. From then on, Fielding’s Portia spirals into loneliness as she begins to face her true reality of being trapped in a loveless marriage. It is a performance which on occasion feels a little too jarred, but one which will likely smooth out as the production progresses.

That course towards isolation and loneliness is most beautifully captured by Caroline Martin as Jessica, a role so often forgotten about. She begins alone in her father’s household, before leaving with lover Lorenzo to a seemingly more comforting world offered by the Christians. But the ending conveys her realisation of their treatment of Shylock; she walks away from Lorenzo conflicted and detached from everything.

Goold once again proves himself to be a daring director with this bold and innovative Merchant, almost certain to divide its audience. It stands as a most memorable production, not least because of its extraordinary final image: solitary figures spread across the stage accompanied by Elvis’s Are You Lonesome Tonight?

Jude Evans, age 22

Luke Harris reviews The Merchant of Venice

Directed by Rupert Goold

Royal Shakespeare Company, Royal Shakespeare Theatre, Stratford-upon-Avon

Wednesday 18th May, 2011

Rupert Goold is known for his radical, conceptual directorial style. For the RSC's new production of 'The Merchant of Venice' he transports the world of Venice to the city of gambling, Las Vegas.

An entertaining and energetic pre-show establishes the themes of American culture and the atmosphere of a money orientated society. The glamorous and exuberant set, designed by Tom Scutt, involves gold plated staircases, TV screens and fruit machines. Rick Fisher's fantastic lighting design is suitably extravagant and music by Adam Cork supports the seamless scene transitions, often including Elvis Presley. Never could I imagine the King of Rock'n'Roll, the Glee hit 'Don't Stop Believin' and Duck Sauce's electronic dance track all featuring in a Shakespearean production.Portia and Nerissa, played brilliantly by Susannah Fielding and Emily Plumtree, are MTV, Paris Hilton-like celebrities who host a game show to find a fitting suitor. It's crass and tacky but captures the comedic side to the play which is often ignored. Caroline Martin's Jessica is geeky and awkward, making something out of a slightly overlooked role. Patrick Stewart's Shylock is just as impressive as one would expect from a quality Shakespearean actor . His portrayal as a  humane yet narrow-minded Shylock is captivating and his Jewish heritage deepens and develops through all of his five scenes climaxing in an absorbing court scene which keeps you hanging off every word. Even though I know the story, the energy and atmosphere produced on-stage was rightfully intense and absorbing.

Goold's cinematic, story-telling aesthetic makes you feel like you are watching a blockbuster film, Ocean's Eleven style. His bold visual flair and his brave concept choices will split audiences, especially a traditionally reserved Stratford audience. Some will argue that his daring conceptual style diminishes the integrity of Shakespeare's themes, characters and story. But the world Goold and the ensemble create works, embracing the spectacle of the glitz and glamour of modern celebrity culture. There are imaginative moments throughout including a car ride and an elevator scene. Goold's genius reminds us all why he is one of the foremost British directors of our age as well as strong candidate to takeover the National or RSC in the future.

It is a thoroughly entertaining production that once again showcases the capabilities of the new thrust stage. Whether it will be a critical success is the big question, however I do believe it will encourage a new, younger audience to the RSC and that is why Goold is such a valuable asset to the company. Get a ticket and enjoy the magic!

Luke Harris, age 22

Jude Evans reviews The City Madam

Directed by Dominic Hill

Royal Shakespeare Company, Swan Theatre, Stratford-upon-Avon

Tuesday 10th May, 2011



Photo: Ellie Kurttz




Massinger’s seldom performed play gets the outing it deserves on the Swan stage. Dominic Hill’s production shows just how wonderfully funny it really is, with the actors performing the heightened characters to superb effect. But beneath its laugh out loud surface, the production reveals the play’s deeper concern with the destructive forces of selfishness, greed and desire. Hill proves just how modern and relevant this play is for us today.

Set in the London of Charles I, Massinger’s city comedy dramatises the opulent and decadent nature of the Caroline reign. We follow Luke Frugal as he enters the household of his older brother, Sir John, where he is looked down upon by Sir John’s social climbing wife and daughters. Suddenly left in charge of the household, Luke begins to be corrupted by the world of money and wealth he has entered into. His journey is peopled by many characters, from those of new and old money, to a prostitute and a stargazer.



The audience will frequently be tickled by Hill’s production. Elaborate costumes, make-up and wigs are enough to trigger suppressed giggles, and coupled with the actors’ haughty mannerisms it is difficult not to burst out into laughter. But the play’s darker side is never far away. The elaborate features appear a sign of grotesque greed and opulence when viewed against Tom Piper’s brilliantly simple set. The design later complements the plain, prisoner-like costumes which appear as the production progresses. Tim Mitchell’s lighting also works to great effect. The stage is dimly lit by footlights giving the actors a rough, harsh appearance, and creating a dense atmosphere in the relatively small space of the Swan Theatre.



In a play with a large number of characters to portray, all roles are well performed by a strong ensemble cast. Jo Stone-Fewings is excellent as Luke, capturing his shifting nature as he becomes increasingly corrupt. The foolishness of Lady Frugal and her daughters is superbly played by Sara Crowe, Lucy Briggs-Owen and Matti Houghton who even manage to bring a touch of vulnerability to their roles and elicit a small amount of sympathy. And in the underworld, Pippa Nixon’s Cockney prostitute, Shave’em, is highly entertaining.

This is certainly a thoroughly enjoyable production, and one which resonates with our own time. It is wonderful to see the Swan back in full flow with stagings of seventeenth-century drama. And long may it last.

Jude Evans, age 22

Young People's Forum - 20th April

On a gorgeous sunny evening outside the Swan Theatre the RSC Young People’s Forum met to discuss all things RSC. All thirty-something of us introduced ourselves, and it was great to see new faces and those who’d been before.

The first discussion topic was what the next RSC Key competition should be. The first idea was creative writing. Some were in favour of this, others thought it might be too narrow. It spurred a lot of other suggestions including visual art options, multimedia and a more open creative competition allowing RSC Key members to use whatever creative skills they have.

From this discussion developed ideas of running sessions at the RSC prior to competitions, in creative writing or multimedia or another area, in order to enable all members to feel they can enter. And on a side note, we all agreed that we would be interested in sessions about the work of different departments at the RSC, such as Marketing.

The next discussion topic was an ambassador scheme, with the idea of having some Forum members representing the RSC Key in different venues, including schools and universities. We talked about how many there should be and how to become an ambassador.

Finally, a question was raised about the name of the Forum, whether it should stay the RSC Young People’s Forum – a little lengthy – or have a new title called the RSC Key Forum – a little sharper.

All discussion topics will be developed in the next couple of months, so keep checking Facebook, Twitter and the Blog for future information!

Jude Evans, 22

Anna Laycock reviews Cardenio - Shakespeare's 'Lost Play' Re-imagined

Shakespeare’s ‘Lost Play’ re-imagined
Directed by Gregory Doran
Swan Theatre, Stratford-upon-Avon
Wednesday 20th April 2011

Whether Shakespeare really wrote a play about “Cardenio” or not, we will never know. However, in my opinion, the authorship of the play does not matter, Greg Doran’s re-imagining of “Cardenio” allows the play to be excellent in its own right and not because of any links it may have to the Bard.

“Cardenio” is the result of literary archaeology from the RSC. In 1772, Lewis Theobald claimed to have obtained three manuscripts of an unnamed play by Shakespeare which he edited and published under the name of “Double Falsehood”. “Double Falsehood” has the plot of the Cardenio episode in “Don Quixote”. Using both “Double Falsehood”, “Don Quixote” and other sources Doran has managed to re-imagine the story for a modern audience to enjoy.

From the beginning the audience are transported into the world of sixteenth century Spain, as we find ourselves looking inside a domineering Catholic monastery. Religion is a prevalent motif throughout the play, and appears a controlling force, with characters questioning and blaming God for what happens to them. However, the lustful behaviour of the leads, Cardenio and especially Fernando, along with the pagan villagers and Spanish flamenco style music provide a contrast to the formalities and rules of Catholicism.

Much like a Shakespearean comedy, the play centres around two couples kept apart from their lovers due to disapproval from their families. Cardenio is in love with Luscinda, but her father insists that her father give his approval before the relationship continues. On the other hand, Fernando falls in love with Dorotea, a farmer’s daughter, thus his love threatens his reputation and status as the son of a Duke. The play has many very funny moments, yet, the tone changes throughout the piece and comes close to tragic just before the interval before reviving itself for the denouement where confusions are resolved and the couples reconciled reminiscent to such comedies as “A Midsummer Night’s Dream” and “Much Ado about Nothing”.

The new fiftieth birthday season ensemble is a group of very strong performers, not only can they act but also in “Cardenio” we witness members singing and dancing. The four leads particularly stand out; Oliver Rix portrays the charming Cardenio descend into madness after losing his lover with flair and whereas Alex Hassel may look similar to Rix in looks but his character, Fernando, is clearly the mischievous antagonist of the play. Pippa Nixon as Dorotea displays the subtle insecurity of the possessed and abandoned farmer’s daughter perfectly in the first half before gaining confidence and self-assurance towards the end. Furthermore, Lucy Briggs-Owen highlights both the innocence and strength in Luscinda’s character.

The motto “the show must go on” came into effect during the performance when the fire alarm went off about forty minutes into the first act and the audience, staff and cast members all evacuated outside the building. It might be said the alarm is the fault of Shakespeare’s said-to-be cursed play, Macbeth, which was being performed next door in the Royal Shakespeare Theatre, although luckily the curse did little to affect the performance as it was a false alarm and the show continued as if nothing had happened.

Doran’s "Cardenio" is a highly joyful experience of theatre. For once all credit must be given to Doran, the ensemble and the team of design, music, lighting, sound, and movement directors for the creation of Cardenio rather than William Shakespeare.

Anna Laycock, age 19

Dan Hutton reviews Cardenio - Shakespeare's 'Lost Play' Re-imagined

Shakespeare’s ‘Lost Play’ re-imagined
Directed by Gregory Doran
Swan Theatre, Stratford-upon-Avon
Wednesday 20th April 2011

The performance reviewed was a preview performance. Press night is Wednesday 27th April.

In a recent directing workshop, I was given one sterling piece of advice to remember when trying my hand at directing: “You’ll never be as good as Shakespeare”. What’s beautiful about Greg Doran’s so-called ‘re-imagining’ of Shakespeare’s Cardenio is that in all the publicity and in performance it never professes to be as good as anything the Bard could have written, constantly taking a tongue-in-cheek look at the classic Shakespearean comedy.

Piecing together pieces of Lewis Theobold’s Double Falsehood (which was supposedly based on a manuscript of Fletcher and Shakespeare’s Cardenio), Shelton’s translation of Don Quixote and Doran’s own ingenuity, the tone of Cardenio is never able to shake off the feeling of being a cross-centuries collaboration. Some lines feel solidly Elizabethan (“There’s not a maid whose eye with virgin gaze/ Pierces not my guilt”), but elsewhere relatively modern (“There is a woman, sir, there is a woman”). This doesn’t matter, however, for the themes of the play – those of consent and deceit, favourites of Shakespearean comedy – go hand in hand with the atonal language.

It is a perfect formula for a Shakespearean comedy; two men fighting over one woman, even though one of the men is already married. Through disguise and treachery they eventually get what they want and everyone lives happily ever after. The character of Doritea – the second woman – is questionable, as she returns to the man who abused her in the style of Hero, but the strong speeches she is given in the second half of the play remedy that somewhat.

Doran’s joyful production revels in the references to other comedies while taking a look at the darker undertones of religion in the play. Paul Englishby’s remarkable score reverberates around the small space, taking us from brazen ritual to quiet prayer. Niki Turner’s semi-reflective set, lit by Tim Mitchell, facilitates these tonal changes, and the strip of mirror revealed at the back of the stage suggests we are only peeking momentarily into the history behind this lost play.

The four young leads all impress. Pippa Nixon as Doritea copes well with a difficult role, gaining confidence later in the play and showing a strong resolve, even if the script doesn’t. Lucy Briggs-Owen’s Luscinda, the object of the two male leads’ desires, is charmingly innocent, being won over by Oliver Rix’ exuding charisma in his professional debut as Cardenio. Most impressive is Alex Hassell in the role of the loveable antagonist Fernando, a deeply flawed character who wins our empathy through hilarious asides and looks to the audience. Among the strong ensemble, Christopher Ettridge and Christopher Godwin both stand out as the two surprisingly liberal (for Shakespeare) fathers.

Fittingly for the RSC’s Fiftieth Birthday season, Cardenio offers a meta-theatrical look at Shakespearean comedy, straddling five centuries and being fully aware of its roots. It’s unlikely to become part of the canon anytime soon, but it’s no doubt a production which Shakespeare would be able to watch and recognise as something he had a hand in creating.


Dan Hutton

Anna Laycock reviews King Lear at the new Royal Shakespeare Theatre

Directed by David Farr

Royal Shakespeare Company, The Royal Shakespeare Theatre, Stratford-upon-Avon
Friday 25th February 2011

Although I did not know King Lear well, I still was very keen to watch it being performed at the new Royal Shakespeare Theatre last week. I was most excited to see one of the first performances on the new stage, and to see for myself whether the thrust layout really is much more effective than the proscenium arch.

From the moment I walked into the foyer of the new theatre I knew that I was entering into something very grand, the front of house area really has been transformed and is much more spacious. Instead of being cramped into one space, audience members can browse in the shop located by the box office, or wonder round the corner to the cafe, explore an exhibition room, have a bite to eat at the Rooftop Restaurant or just simply wait by the theatre bar and admire the view over the river basin. Touches like, projecting photographs from past productions onto the wall beside the cafe and the opportunity to add your message to a web of words keep audience members waiting to take their seats entertained.

When I took my seat at the back row of the upper circle I knew I did not have to worry about not hearing or seeing the action as even being right at the back I was no more than 15 feet away from the stage, much closer than the back seats of the old theatre. Also, the thrust stage made the special effects involved so much more effective such as the rain falling on Lear and sandbags falling from the ceiling, effects that would not have worked as well at all in a proscenium arch space. Furthermore, the play made good use of the space, playing to all sides of the auditorium so that all audience members felt involved.

Greg Hicks made a brilliant King Lear, his portrayal of an authoritive leader descended into madness always had an element of black comedy as well as tragedy. Sophie Russell made a highly entertaining Fool, often making the audience laugh. Another stand-out performance was Tunji Kasim as the manipulative Edmund, who with his cunning words almost managed to win over the audience.

Overall, my experience at the new RST was highly enjoyable and will certainly be an experience I will be having many times again!

Anna Laycock, age 19

Photo by Manual Harlan