Filter Theatre’s Twelfth Night, seen on Saturday at Theatre Clwyd, is like no other production of Shakespeare’s much-loved comedy you have ever seen. Purists might hate it, but Filter’s radically-cut, fast-paced version of the play is hugely enjoyable, and every word is the Bard’s. At little more than 90 minutes this is a distilled essence of Twelfth Night. The audience in Mold loved it. Continue reading “Filter Theatre’s riotous Twelfth Night“
Conrad Nelson’s production of The Winter’s Tale for Northern Broadsides is the most stripped-back production I’ve seen. We saw it performed in the round at the New Victoria Theatre in Stoke where the stage was bare, but for an occasional bench or something similar.
The result is to focus attention on Shakespeare’s words and symbolism – and on the quality of the acting which, as always with Northern Broadsides, was very high indeed with notable performances by Conrad Nelson himself in the role of Leontes, Ruth Alexander as Paulina, Mike Hugo as Autolycus, and Jessica Dyas and Lauryn Redding as the sparring peasant girls Mopsa and Dorcas. Continue reading “A stripped-back Winter’s Tale from Northern Broadsides”
The production at Liverpool Playhouse of Tennessee Williams’ The Glass Menagerie that my daughter took me to see on Saturday was slated in the Observer. In her review Clare Brennan wrote that ‘Ellen McDougall’s direction constrains 3D actors in a 2D concept’. She went on:
Context matters. In this new co-production by Headlong, Liverpool Everyman and Playhouse, and West Yorkshire Playhouse, it has been eradicated. We are left with a tight focus on individuals separated from the indicators of the circumstances that mould them.
I could not disagree more. Continue reading “Headlong’s The Glass Menagerie: ‘how beautiful, and how easily broken’”
‘This will never stop,’ writes playwright Anders Lustgarten in the introduction to his critically-acclaimed drama Lampedusa which, unflinchingly and without a trace of sentimentality, deals with the refugee crisis in the Mediterranean. I saw it last night at Liverpool’s Unity Theatre, co-producer of the play with the Soho Theatre, where it was first performed. Continue reading “Lampedusa: ‘Fucking hell. Why are people kind?’”
Watching The Merry Wives of Windsor at Grosvenor Park open air theatre in Chester the other evening, I wondered why this Shakespeare comedy is so rarely performed. As always, the Grosvenor company put on a terrific show – fast-paced, multi-sensory, and packed with music and comedy. We couldn’t have asked for a more entertaining three hours of theatre – and on one of the warmest evenings of this dreary summer. Continue reading “The Merry Wives of Windsor in Chester’s Grosvenor Park: a touch of the 1970s”
The drizzle, it seemed, was determined to droppeth as the rain from heaven for some time, but heaven’s mercy prevailed to allow for a mainly dry performance of Romeo and Juliet by a wandering troupe from the Globe Theatre in Calderstones Park.
Still, nothing – least of all a bit of rain – comes in the way of Britons determined to enjoy a bit of Shakespeare. People were togged up in hooded anoraks, waterproof rugs and warming flasks of something or other as the travelling players wandered around, joking with the audience before the performance started with a song and dance – just as it would in Shakespeare’s time. Continue reading “Romeo and Juliet in Calderstones Park: teenage hysteria”
I have never longed so much for the moment I could leave the theatre as when watching the Royal Exchange production of Caryl Churchill’s 1994 drama, The Skriker, that really should have been left un-revived rather than being the centrepiece of the 2015 Manchester International Festival.
The production has attracted uniformly adulatory reviews, and it has to be said that the staging by Lizzie Clachan and Maxine Peake’s central performance are superlative. It’s the play that’s the problem. Continue reading “The Skriker: A midsummer nightmare”