Tuesday, 9 May 2017
Wednesday, 17 August 2016
The Alchemist Review
Alice is an 18 year old
Philosophy student at the University of Birmingham. She also worked at the
World Shakespeare Congress as an Events Ambassador and had opportunity to come down and review a play the week before the Congress.
Siobhán McSweeney, Ken Nwosu and Mark Lockyer in The Alchemist. Photo by Helen Maybanks (c) RSC
When the cat's away, the mice will play - and boy, these mice are ready to
put on quite a play. This season, the RSC sees Polly Findlay bring to live the Renaissance
comedy The Alchemist by Shakespeare's near-contemporary, Ben Jonson. As
the plague hits London, Lovewit (Hywel Morgan) skips town, leaving his mansion
in the hands of his mischievous manservant Jeremy (Ken Nwosu) and his band of conniving
friends.
Taking place in the Swan Theatre; the space at the RSC generally reserved
for Shakespeare's contemporaries as Hamlet plays just across the hall, The
Alchemist is an unmissable feature of the RSC's season.
The Alchemist is unique amongst the Renaissance plays in its totally contemporary
setting. Whilst most of the bard's plays are set in historical England, The
Alchemist is set in Blackfriars in the year it was written - 1610 - and its
vivacious contemporary atmosphere is one of several reasons why 406 years
later, this play translates brilliantly and transparently to today's audience.
As we enter the Victorian-Gothic theatre, the wonderful Jacobean set
immediately thrusts us into the dark, smoky criminal underworld of 17th Century
London where the play takes place.
The play launches into action with an original prologue, written by
playwright Stephen Jeffreys, which is energetically and hilariously delivered
by the production's three stand-out actors; Ken Nwosu as the conniving but
hopeless manservant Jeremy, Mark Lockyer as Subtle - the brilliantly disastrous
sham alchemist, and Siobhán McSweeney as the utterly lovable yet
take-no-prisoners prostitute, Dol Common.
These three characters - the band of terribly hopeless criminals - are
central to this calamitous farce, and maintain their comedy and energy expertly
throughout the 2 hour and 20 minute production, as they are joined on stage by
the "sober, scurvy set" of Londoners who they plan to con and swindle
out of their money.
Beyond being ingeniusly funny, The Alchemist is a social comment on
the levels of vanity which humanity is capable of. This group of scoundrels who
have transformed their master's mansion into their criminal den, have no limit
to the depth to which they will stoop, in order to trick some unsuspecting
victim that Subtle is, in fact, a powerful alchemist. From convincing a naive tobacconist
(charmingly portrayed by Richard Leeming) that he is a necromancer, to tricking
a group of Anabaptists into believing that he has the philosophers stone - a
magical transmuting
stone that will turn any base metal into gold - Subtle's only magic qualities
are in how good a con-man he is. RSC veteran Mark Lockyer plays the eponymous
alchemist unashamedly, boldly and captivatingly, really breathing life into
Jonson's charmingly vile con-artist.
Polly Findlay in her pacing and bold direction succeeds in bringing to
light Jonson's clever parallels drawn between the world of alchemy, and
Jacobean London. In an uncertain city, literally on the brink of demise, this
play is about striving for change - just as the philosopher's stone is said to
change the ordinary into gold, the lowly conmen aim to augment themselves, to
climb the social ladder and become something wealthier and more powerful. Every
scene in this play is rife with conflict; from the initial scene where Jeremy
and Subtle bicker about shares of the profits, to the Anabaptists quarrelling
over the legitimacy of alchemy; the friction and sparks generated by the
reminds us of the intensity and often hilarious unpredictability of those at
the bottom, in a city on the brink.
As we near the end of the play, the RSC's technical team really do bring
out all the stops, to create some pretty spectacular stuff, which I'd rather
not give away. The devised ending of the play is deeply clever, very funny, and
does a marvellous job of bringing together the themes of trickery, false-play
and humour, which drive this real gem of a piece.
So, whilst the philosopher's stone may ultimately be the stuff of legends,
the RSC really has succeeded in created something genuinely golden in the Swan
Theatre this season.
Thursday, 10 March 2016
Doctor Faustus review
Alex Barasch is a 19
year old Biology student and the current RSC Ambassador for Oxford University,
who, as a lover of early modern drama (and theatre in general), takes full
advantage of the RSC Key’s BP £5 tickets whenever possible.
Maria Aberg’s production of Doctor Faustus is a compelling one from the outset. It opens with RSC veterans Sandy Grierson and Oliver Ryan walking on stage and striking a match: the lead whose match burns out first “loses” and is forced to take on the role of Faustus, the eponymous doctor who sells his soul to Lucifer for 24 years of supernatural power and impunity, while his counterpart plays the devil Mephistophilis. This mirroring continues throughout, as the two swap lines, share monologues and imitate each other’s physicality, emphasising the strength of their contract— and culminating in a delightfully intimate end.
Maria Aberg’s production of Doctor Faustus is a compelling one from the outset. It opens with RSC veterans Sandy Grierson and Oliver Ryan walking on stage and striking a match: the lead whose match burns out first “loses” and is forced to take on the role of Faustus, the eponymous doctor who sells his soul to Lucifer for 24 years of supernatural power and impunity, while his counterpart plays the devil Mephistophilis. This mirroring continues throughout, as the two swap lines, share monologues and imitate each other’s physicality, emphasising the strength of their contract— and culminating in a delightfully intimate end.
Oliver Ryan and Sandy Grierson in Doctor Faustus. Photo by Helen Maybanks (c) RSC
Aberg’s decision to cut the comic scenes in the middle of
the play resulted in a fast-paced, unrelenting performance. In particular, the treatment
of Benvolio’s (Tom McCall) humiliation and attempted revenge was tonally
excellent, and while Ryan’s manic Mephistophilis was sometimes brutal, Grierson
shone as a palpably tormented Faustus whose breakdown is reflected by the
ensemble around him. As everyone he encounters grows increasingly grotesque and
inhuman in both appearance and behaviour—the faceless soldiers who attend on
the Emperor communicate in ominous clicks, and the Duke of Vanholt could pass
for Gluttony—he no longer knows whom to trust.
The visible purity and seeming normalcy of Helen’s childlike
spirit comes almost as a relief to both the Doctor and the audience when he
first summons her, until it becomes clear that here, too, something is off. In this,
one of the most unsettling moments of the production, Faustus is forced to
confront the hollowness of the “pleasures” that have cost him his soul. The
clever doubling of scholars and devils makes subsequent scenes even more sinister,
and we begin to understand Faustus’ paranoia: has the crowd come to entreat him
to entertain with his magic or drag him to hell at last?
These bold choices in costuming and characterisation are
complemented by Naomi Dawson’s simple yet evocative set (the pentagram Faustus
draws when he first summons Mephistophilis remains as a striking reminder for
the duration) and Orlando Gough’s stunning score, by turns discordant and
sensual. All in all, a powerful and innovative interpretation not to be missed.
Doctor Faustus is
now playing in the Swan Theatre until 4 August, 16-25 year olds can still get BP £5 tickets for this
production – just enter promo code 1625 when booking.
Tuesday, 26 January 2016
Tess Henderson is a 22 year old
English Literature and Drama graduate from UWE. She is passionate about theatre
and writes a theatre blog dedicated to the subject. She is
currently working as a Content Creation Marketer in Bristol.
If I could
sum up the RSC production of Peter and
Wendy in one word, it would be: Ingenious.
Playwright,
Ella Hickson uproots the classic JM Barrie tale and forms it into something
deeper and more relevant, yet still remains true to the context of the time.
One defining
feature in Hickson’s version is that we begin with four Darling children
instead of three. Tom is the fourth child who passes away at the beginning of
the play, thus shattering the Darling household as they know it. Therefore,
when Peter Pan arrives and mentions the ‘Lost Boys’ in Neverland, Wendy
immediately jumps to the conclusion that Tom must be one of them; providing the
story with a much stronger emotional pull than the promise of pirates and
mermaids (although this is still what sways John and Michael!).
Another very
strong feature to Hickson’s version is that arguably, this isn’t Peter’s story
at all, it’s Wendy’s. In JM Barrie’s novel, Wendy is predominantly shoved into
the ‘motherly’ role and thus into the restraints of patriarchy, as seen when
she is put safely into her ‘Wendy house’ when she arrives in Neverland.
However, Hickson turns her into a powerful force to be reckoned with as she scoffs
at the childishness of Peter and the other boys and hatches a plan of her own
to find Tom. This is mirrored by Mrs Darling’s story as she breaks out of the
family home to fight for her independence amongst the Suffragette movement.
Mariah Gale
plays Wendy with ease, as she not only reveals her childlike innocence, but her
more opinionated, strong and practical side. Gale was one of my favourite
performers as I felt that she brought a different side to Wendy; she made her a
real, flawed human being rather than the prim and proper young girl Wendy is so
often portrayed as.
I
appreciated the way women were brought to the forefront of this narrative. I
really liked the way Hickson joined the female characters together to save the
Lost Boys on The Jolly Roger. With Tiger Lily’s (Mimi Ndiweni) strength and
resilience, Tinkerbell’s (Charlotte Mills)
sassiness and wit, and Wendy’s passion and confidence, we have the
perfect team and truly see the different aspects of their personalities.
The set was
incredible – thanks to award-winning designer Colin Richmond. A lot of thought
and effort had been put into both the design and construction; particularly the
Lost Boy’s den.
I thoroughly
enjoyed this imaginative revision of Wendy
and Peter Pan. It challenged the original story and successfully captured
the feminist, comical and magical moments of the tale. I felt like I had been
transported to the Neverland I had always wanted to experience!
Wendy &
Peter Pan is now playing in the Royal Shakespeare Theatre until the 31 January.BP £5 tickets are available with promo code 1625.
Tuesday, 15 December 2015
Another awesome Wendy & Peter Pan review
Jemima
Mitchell is an 18 year old English Language and History student at the
University of Birmingham. With a strong love for theatre and the RSC she is
taking advantage of the close links between Birmingham and the RSC to see as
many shows as possible. Currently a Student Ambassador for the RSC she is
looking forward to being able to try and encourage more young people to attend
the theatre.
I am an avid
reader and have always enjoyed reading whatever I could get my hands on. J M
Barrie’s Peter Pan and Wendy is one
of the earliest books I can remember. My copy of it still sits in pride of
place on the family bookshelf, despite the fact that I, unlike Peter, have
grown up and (supposedly) flown the nest. With daring sword fights, a mermaid
lagoon, flying and fairies there was nothing not to love. At least as a child.
Having now grown up and developed into a strong feminist, it’s fair to say that
Wendy’s restriction to the role of ‘mother’ is one I strongly resent.
Therefore, when I heard of the RSC’s Christmas production of Wendy & Peter Pan it’s fair to say I
leapt at the chance to see it and had booked to see it twice before I even knew
what was happening.
Upon walking
into the theatre the first thing you notice (or at least, the first thing I noticed) was the fantastic set and,
interestingly, the number of beds. The RSC is famous for its jaw dropping sets
and so that was to be expected. However, everyone knows the story of Peter Pan
and there are three Darling children. Yet, there on the stage was undoubtedly
four beds. My friends and I theorised that perhaps the dog had been given a
bed, as Nana was treated very much like a human in the Disney version. Alas, we
were wrong and Nana did not even make it into the show and instead there were
actually four Darling children.
Yet, despite
Nana’s absence, the wonderful creative genius of Ella Hickson in adding an
extra Darling to the story added all the depth that the original was now
missing for me as an adult. At the beginning of the play, Peter and his band of
shadows come to take Tom (the extra Darling) away to Neverland. As the shadows
enter the nursery, W B Yeats’ The Stolen
Child begins to echo throughout the theatre. Having studied this poem in
great detail for A Level Literature, the tone of the play immediately became
clear as Yeats creates a very sinister view of the fairy world which steals
children away to its magical, fantasy land.
This then,
is the catalyst for Wendy’s own adventure and she sets off to rescue Tom and
bring him home. Mariah Gale puts in an excellent performance as Wendy, the girl
struggling between child and adult. It is in Neverland that
Gale truly makes the role her own. We enter Neverland on Wendy’s coattails and
watch as she defies everything the world has tried to predetermine for her and
knocks all the obstacles out of her way. We are introduced to a wide plethora
of diverse characters, who all serve in their own way to defy stereotypes.
There is great diversity within even the ranks of the pirates (in the form of
Martin) and the lost boys and the wonderful reimagining of Tiger Lily (played
by Mimi Ndiweni who stole the stage whenever she was on) provides a strong
female heroine all the audience can get behind, not to mention Tink, whose
character development throughout the show is spectacular to see.
These three
dimensional characters, backed up by the (as always) spectacular set, provided
me with everything J M Barrie’s version is missing, giving the boys and the
girls equal chance to play and save the day. If Barrie’s story lives on for its
sheer magical delight, Hickson’s reimagining will live on for bringing the show
into the 21st century with all the magic of the original as well as
an extra special spark that is all its own. Definitely a show not to be missed.
Tuesday, 8 December 2015
Wendy & Peter Pan - Review
We have been working with the youth engagement agency, Beatfreeks, Here is Luci's (from Beatfreeks) review of Wendy & Peter Pan.
This is a feminist interpretation of a feminist interpretation of Peter Pan
The
story of Peter Pan has never been my favourite. I mean with all the magic,
pirates, mermaids, sassy fairies and three-dimensional characters, you'd think
I'd love it. And as a practicing woman-child parts of me really do. Honestly,
who can ever get enough of swashbuckling adventures, flying, massive amounts of
sass and the prospect of never having to grow up? But in all the
interpretations I've seen, none of them resonated with me.
And
ironically, (as I'm reviewing a play about never wanting to grow up) now I'm
older, I understand why. Peter Pan, as a classic, is problematic for
contemporary reimagining’s. Whenever I’ve watched any interpretations I've
anticipated having to grit my teeth through uncomfortable scenes. I know. J.M
Barrie created Peter Pan as a character in 1902 and staged his most popular
version of the play in 1904, so we are talking about a play that was
constructed through the lens of The London Victorian era, you know, way before
Western media truly considered the negative impact of racial and gender-based
caricatures and stereotypes (although some would wonder if they do even now,
here's to looking at you Hollywood). But after enduring the Disney cooperation's
"What Makes The Red Man Red" I had long since disconnected with the
Peter Pan franchise entirely. (That's not to say I didn't adore Robin Williams
in Hook or have my first androgynous awakening from the 2003
version). But if we put the racial problems aside for a moment there's another
reason why I never connected with it.
Like
the majority of adventurous tales I was told when I was growing up, the story
is mostly boy-centric and Little Luci was tired of it. Wouldn't you be if the
extent of your female representation were either: Wendy, whose character
development hinged on her embracing gender roles and gracefully
understanding the steps towards maturity? Or Tink, who though is promising and
fantastically complex, has some serious hang ups that stop her from just having
some magic fairy fun? Or Mrs Darling, a somewhat forgettable character, and
lastly, Tiger Lily, who though was a person of colour, her presence was
minimalist and only there as a device to show how great Peter Pan was at
fighting off the Pirates.
I
mean I had no desire to be any of these characters. If anything I wanted to be
Pan. Pan looked like he had fun. Or a Lost Boy. They looked like they had fun.
Or even Captain Hook (villainy has always intrigued me). I didn't want to grow
up. I wanted to fly. I wanted to be a wild child on a perfect island forever,
who wouldn't? Like I said, the premise was there waiting for me to love
it, but I couldn't.
That
was, until I saw the Royal Shakespeare Company (RSC)'s interpretation. They
called it Wendy and Peter Pan and it hit all the
right tones with me. I mean, since we are talking about The RSC I don't
feel the need to wax lyrically about the strength of the actors, or the
beautiful movement choices, or the epic grandness of the technical and staging
design or the high production value. After all it is the RSC. They've got a
reputation to uphold and I don't want to spoil anything for you.
But
what I do want to talk about is how this version helped me to understand
the story of Peter Pan in a new way. It stimulated me as an adult with some
chunky food for thought on its meatier themes of death and youth, while still
inviting the Little Luci in me to find characters and scenes I'd wished I had
the opportunity to hear originally. It was a delight to watch on the premier
night with so many young people in the crowd. They cooed and awed and cried and
laughed in all the right places, which is testimony to the magic of the show.
It successfully transports the viewer to a magical world where everything is
exciting and every scene is engaging.
It
was also satisfying on another level. It shone light on the experiences of the
women of the play. Not just as Peter's love interest, or a device to show how
great he was or how evil Hook was. They had real and strong developmental
moments. Mrs Darling, Wendy's mother, wasn't just a minimal character, she did
something for herself and was seen as a sympathetic but strong maternal figure
who loved play as much as her children in spite of struggles.
And
Wendy wasn't in Neverland just to play an extended game of Pretend House with
Peter and his Lost Boys but had her own mission, which she succeeded in. As did
Tiger Lily, who, with a bit of writing genius was a person of colour that
wasn't offensive, serving as an interesting historical parallel to our own
world, and was on all accounts a warrior (Little Luci wants to be her at
playtime). Tink, who found her own brand of happiness and wasn't your average
ordinary interpretation of a fairy. She was rough and tumble with gentleness to
her.
Like
I said, all these ladies had full characters with strong back stories and
complex, independent thoughts which enabled them to save themselves, and those
they loved. Actually at one point the girls on Neverland; Tink, Wendy and
Tiger, join together to overcome a Pirate-based problem which felt was sublime.
Forget the glorification of tearing each other down, female solidarity is the
story little girls need to be hearing.
There
was also space for gender-role fluidity with the male characters, which was
perfect. Needless to say the script was great, thanks Ella
Hickson, because though the play was a feminist interpretation it wasn't
just about the ladies. The males were equally integral and well considered (and
isn't that what feminism is truly about)?
Secondly
it used the elements of fantasy to tackle some pretty heavy topics. It is
speculated that J.M Barrie wrote Peter Pan in tribute of his fourteen-year-old
brother who died in an ice skating accident when he was quite young. That kind
of solemnness and gravitas is what sews this interpretation together. It
tackles very adult issues of grief, discontentment and growth with great care.
It offers a space to feel and heal by using its fantastic cast of characters to
instil a sense of belief and comfort.
Thirdly
it nodded at the suffragette movement by adjusting the timescale of the story
forward by a few decades. This was incredible to watch from a historical
perspective. As the viewer we witnessed Wendy's frustrations with Peter Pan,
who decided he no longer wanted to play Father anymore while she had no choice
but to be Mother despite it not being her ambition, and at the same time
observed Mrs Darling's frustrations which were also associated with the concept
of wifely duties. Meanwhile this growing social unrest was creating a movement
to address these exact issues (Read Feminine Mystique by Betty
Friedan).
That's
not to say it was all perfect. The justification for why there were only Lost
Boys was too male-centric for my tastes and the play could benefit by being
more sensitive to existing queer stereotypes. But apart from that it was a
solid show and a fantastic night out.
Leading
me to conclude that navigating intersectional feminism isn’t easy. Especially
through premises that were created before sexism, racism and classism were
carefully addressed through mainstream mediums. But when it is done, and done
with consideration and care as with this particular play, it is so exciting and
worth it. So congratulations to The RSC on being brave enough to breathe new
and fresh life into a story that deserves to be told. Even if the social
hierarchal structure it was originally founded on is upheaved, the themes
of Neverland never grow old.
Friday, 20 November 2015
Amy Wilcockson is a 19 year old English student at The
University of Nottingham, who is a frequent visitor to the RSC and regularly
uses the RSC Key scheme to attend productions, the most recent being
Shakespeare’s Henry V.
After studying Shakespeare’s
History plays last year, it seemed too good of an opportunity to miss seeing
(in my opinion!) the most powerful of the Histories performed in the home of
Shakespeare himself. Directed by the Royal Shakespeare Company’s Artistic
Director, Gregory Doran, and starring Alex Hassell in a reprise of his role as
Hal/King Henry V, the production was truly a timeless and stunning experience.
The character of King Henry V
has traditionally been seen as an immensely conflicted character; Shakespeare’s
characterisation altering seamlessly from a murderous beast threatening the
citizens of Harfleur, and committing atrocious war crimes, to the picture of an
angelic prince wooing his love the next. Alex Hassell, last seen at the RSC as
Biff Loman in Arthur Miller’s Death of a
Salesman, here gave an immensely powerful performance as the young king,
and the famous speeches were delivered with true feeling and heart. Yet,
Hassell also successfully managed to create a mysterious, brooding king, only
occasionally revealing the flashes of hot-tempered Prince Hal he epitomised so
well in the RSC’s previous productions of Henry
IV Parts 1 & 2.
The character of the Chorus,
so central to the play, was played with gusto and humour by Oliver Ford Davies.
The Chorus’ opening monologue, made it explicitly clear that the world of this
production was indeed played out on a stage, ‘within this wooden O’. This was
made explicitly clear through the initial layout of the set, designed by
Stephen Brimson Lewis, as if halfway through a changeover or rehearsal, which
added a further sense of metatheatricality to the performance. Later on in the
production, the lighting and set showed their further diversity; as the thrust
stage appeared at one moment tilled like earth, and the next flaming like lava
with the intensity of battle and the power of Henry’s speeches.
It is well worth noting the
hilarious performances of Joshua Richards (Bardolph), Christopher Middleton
(Nym) and Anthony Byrne (Pistol), as the reluctant soldiers entering into war.
Their low antics added a sense of light relief to the sometimes brutal reality
of the war raging around them.
The contrast between the
primping Dauphin, played by Robert Gilbert, and the rest of the French Court,
compared to the mighty English, was also played to the maximum through the
wonderfully anachronistic costumes. From punk rock warriors with crested
helmets to aviator jackets and medieval armour, the costumes were a joy to
behold. A range of fabrics and styles all combined through the innovative use
of blue for the French, versus a deep blood red worn by the English, creating a
sense of unity, yet individuality and timelessness for each character.
Henry V was
indeed an immensely powerful performance, culminating in the comedic wooing of
Princess Katherine to be Henry’s Queen, thus uniting the warring kingdoms.
Staggering from her kiss, Hassell’s Henry is simultaneously detached yet
comical, striking yet compelling in his portrayal of this mysterious king.
Given five stars by The Telegraph and described as ‘the Shakespearean event of
the autumn’, this play is certainly a must-see. For those of you aged 16-25,
take advantage of the RSC Key – when world class theatre is available for only
£5, it’d be rude to say no!
Henry V is now playing at the Barbican. Find out more and book your BP £5 tickets today.
Subscribe to:
Posts (Atom)