Posts Tagged ‘theatre’

Antigone, Greenwich Theatre 30 October

October 30, 2017

**

antigone_drone

From AoD trailer

This was the first Actors of Dionysus production I had seen.

It was noisy.

For a large amount of the time, I sat huddled-up with my eyes closed wishing it would do away.  There was no poetry and no heroism and very little chorus, just people running and shouting and 1980s radiophonic effects.

Antigone did what she did with no inner conflict or anguish and she and Ismene shouted at each other.  Then Creon’s world fell on him and it was over.

I think the generality of the audience may have understood what the obeah woman Tiresias was saying but I didn’t.

On the positive side, well, drones, it was the first time I had seen a drone and know I know what they look like.  Three lines of actual Sophocles at the end suggested what might have been, in another world perhaps.  The description of Emily Davison’s death might also have become something if given a chance.

Dismiss me.  Enough.

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Bacchae in Oxford, 21 October

October 23, 2017
bacchae

Picture from OGP20217 FB page

It cannot be said that my trip to Oxford for the Greek Play was a great success.  I discovered that the classical section of Blackwell’s had been moved up a floor to make way for the coffee shop )and the second-hand section had been reduced as well).  I felt mildly interested by a Collected Papers of Milman Parry but not enough to buy it.  I also visited the Oxfam Bookshop, as one does.

At the Oxford Playhouse, people had been moved forwards, sometimes into seats already occupied by others, and the masses of private school pupils were silent like a field of turnips.

Gosh, it was just so boring!  It seemed to have been reimagined as a ballet from the 1930s with music by Sir Arthur Bliss and an Art Deco cube for the set, but the chorus hardly moved, never mind getting off the ground.  The idea of having three Dionysuses meant there was never even an illusion of Pentheus confining them or him, and though Pentheus delivered his lines effectively that would not hold my interest on its own.

Then the thing had ground along so slowly there was an INTERVAL, so I rushed off to the station and quite by chance came across the rather lovely Chiltern Railway train to Marylebone, which also had decent free WiFi.  And there was a trilingual announcement in English, Arabic and Chinese at Bicester Village Retail Outlet.

Gosh, that was so exciting!  And not so long after I was back in South London!

Insignificance, Arcola Theatre 19 October

October 21, 2017

***

DMlZm4WXcAIang1

Photo from Arcola Twitter

I arrived here just in time-the young woman at the ticket desk spoke to someone to hold the door a further minute for me.

SPOILERS AHEAD!

So, The Professor (who we know is Einstein) is sitting in his hotel room and The Senator (wwki Joe McCarthy) comes in to demand he testify the following day.  Then The Actress (wwki Marilyn Monroe) wants to demonstrate the Special Theory of Relativity with some toy trains, but she calls it the Specific Theory.  It is all rather unengaging because Einstein as a character (with a character) is just not there.  Then The Ballplayer (wwki Joe DiMaggio, who was married to wwki Marilyn Monroe) enters and the scenes with him and Monroe are much more dramatic, standard kind of Arthur Miller stuff.

OK, so we came to the interval.  Perhaps the play was on because we now had Trunp as a kind of McCarthy, or just a celebrity.  Then our group missed the signal (if there was one) to go back inside so we had to be led in to sit at the back but the house was pretty empty anyway when

McCarthy is threatening to take away the papers with Einstein’s calculations, but everyone calls them calculus not calculations then Monroe offers him herself or her money not to do that.  Then Einstein and Monroe get to discussing the quantum theory of the 1930s as though it still meant something when she was getting her skirt blown up around her legs all day for numerous retakes.

Monroe suffers a miscarriage and Einstein feels guilty about the bomb.  The world maybe comes to an end outside, or maybe he is just remembering.

At the end, I did not understand why the sexiest woman in the world would need to batter men with words in an unrelievedly rushed delivery and bored my companions by saying it was supposed to be physics not maths Einstein was doing and once you had got the ideas straight you could get the research student to do the calculations.

It made you think, if only about the mistakes…

 

That looks interesting…

October 17, 2017

giselle

…things I ought to remember not to forget.

Antigone:  https://www.greenwichtheatre.org.uk/events/antigone

Pravda:  http://www.sbf.org.uk/_app/stbridefoundation/preview/theatreshows/pravda

The Slaves of Solitude: https://www.hampsteadtheatre.com/whats-on/2017/the-slaves-of-solitude/

Leningrad Symphony:  https://www.southbankcentre.co.uk/whats-on/96419-london-philharmonic-orchestra-leningrad-symphony-2017

La tragedie de Carmen: https://www.wiltons.org.uk/whatson/358-la-trag-die-de-carmen

Semiramide: http://www.roh.org.uk/productions/semiramide-by-david-alden

Giselle:  http://www.roh.org.uk/productions/giselle-by-peter-wright

Voices from Chernobyl, Brockley Jack 2 May

May 3, 2017

****

chernobyl

Picture from Tenere Arte Facebook page

This adaptation of the book by Svetlana Alexievich lasted 60 minutes straight through without an interval and contained a great deal of material in that time. It was presented in the devised theatre style (think Belarus Free Theatre) in both English and Russian–the Russian was normally translated by an other actor or back-projected, but the normal Russian chaos was just repeated.

It benefited from a very strong cast of both English- and Russian-speaking actors, and a previous outing at the Cockpit meant that everyone knew their lines (well, I can think of one minor exception).  The final scene delivered by Kim Christie as the newlywed wife of a firefighter dying from the effects of radiation was extremely affecting and marked by a wonderful sense of restraint…

..but…

the thing about the lies she had to think up to see her husband (two children already, certainly not pregnant) really went by very quickly if you didn’t know the source text and it’s important because it reflects the relation of the individual and the State which found its final expression in Chernobyl.  I think the devised theatre kind of thing tends to to become a documentary rather than a drama, and we could have done with seeing more of fewer characters.  I think that the points that Alexievich was trying to make about the uniqueness of the Soviet experiment, Chernobyl as a rent in the fabric of reality and even as an attack on Belarus rather went missing.

What could you do with them in 60 minutes?  Well start off with what you want to say and shape your narratives to achieve that, which I think is what Alexievich did.

Certainly well worth seeing and thinking about!

Crime and Punishment, Brockley Jack 8 February

February 8, 2017

****

At the end of this second preview, which played to a full house, the actor playing Raskolnikov (Christopher Tester) asked audience members to say something nice about the show on social media, or indeed in real life.

We are happy to oblige.  As a text, this was an excellent adaptation, which embodied the bright idea of getting to the basics of the characters and their story and the author’s intentions and reconstructing that from the ground up as a play.

I thought that both Christopher Tester and Stephen MacNeice (who played Pofiry Petrovich, Marmeladov, and a couple of other characters) were excellent.  We had a harried, ratty, unEnglish Raskolnikov and a Porfiry Petrovich who for once did not bore me to death.  His Marmeladov was impressive in letting you find the degradation, not drowning you with it.  I also thought that Christina Bastion was just too posh as Sonya-we are given to understand that she can read only with some difficulty and she looks up to Raskolnikov as an educated man–and as the pawnbroker Alyona, who also turned out to be Scottish.

But the production moved forward vigorously with clearly-delineated characterisations and a few well-chosen props.  And the well-worn scene where Sonya and Raskilnikov read the Bible together really got to me…

There is a video trailer here, but I’d say the show is better than it suggests.

 

 

 

 

 

Prometheus Bound, Greenwood Theatre 1430 8 February

February 8, 2017

**

prometheus

At the end:  chorus–Prometheus–Io

Prometheus Bound certainly made an interesting choice for this year’s KCL Greek Play in Greek.  One question is whether it actually is a play or merely a scene-setting for following parts of a trilogy.  Nothing much happens apart from various characters coming to sympathise with or talk sense into Prometheus and him referring to the injustices he has suffered and the dark secret he knows.

I remember a production at the Soho Theatre where the clientele were expected to be satisfied by a combination of the manly heaving of the hero’s bare breast and chains.  Lots of chains.  But here it wasn’t quite like that.  We had a female Prometheus, and Oceanus, and whichever it is of Force and Violence that doesn’t actually say anything.

More generally, I’m afraid that there was no sign of a solution to the severe problems posed by staging this piece.  It started off with projections of various modern figures, especially Donald Trump, and you could see how Prometheus might be a kind of Nelson Mandela in captivity, but his captors needed him more than he needed them.  Or Trotsky perhaps, who thought he had the earth-shaking prophecy and was a prisoner to his own well-founded fears. But nothing came of this possible line of thought.

Rather than being chained to a cliff with a wedge through her chest, our Prometheus had to top of a table to call her own.  For some reason sound effects and lianas suggested that this was in the jungle somewhere.  Loud sound effects meant you couldn’t hear what was being said, though the Greek verse sounded to be spoken competently enough.  At the end, Prometheus’s final defiance got lost in underwhelming stroboscopic effects..

On the positive side, the entrance of the chorus was effective, as were some of their choreographed moves.  Likewise for Io’s entry and exit, though I’m afraid she did rather remind me of the domovoy from Morphine.  And indeed there were similar surtitling issues, with lots of text appearing some time after the event.

If you ask what I would have done–well, have a much larger chorus and have them sing and dance.  In fact, have them on stage the whole time and have them  hold up the surtitles on placards, to give the idea of a debate of some importance not people  coming on stage and exchanging words about mouldy mythology…But making something out of Prometheus Bound would be difficult with the best performers and technical resources in the world…

 

 

 

 

 

Morphine, Etcetera Theatre 7 February

February 8, 2017

**

morphine

Picture from Anna Denshina’s Twitter feed

So let’s think–what problems might there be with staging Bulgakov’s ‘Morphine’, about a country doctor who falls victim to…err…morphine? Well, putting a non-dramatic work on the stage is always problematic–if the author had wanted to write a play he’d have done things differently. And especially in a case like the present, where the original text is in the first person and reflects the hero’s diseased apprehension of reality more than actual happenings between people. The latter is where you need to have things in a play. Here we also have some more objective narration from ‘Notes of a young doctor’ brought in to set the scene as well.

That said, the show combined the Russian tradition of having music in lots of places where you don’t want it with the English one of having characters shuffle on, deliver their lines through a mask of embarrassment, and then shuffle of again. The cast members showed various levels of comfort with appearing on stage and the Russian language…that said, I thought that Anna Danshina put in a good and affecting performance as the love interest called Anna.

There were also sutitling issues–the surtitles contained a lot of text at one go and tended to catch up after the event.  But I suspect the proportion of the audience who neither knew Russian nor the storyline of ‘Morphine’ was rather small…

Hamlet, Bread and Roses 29 September

September 30, 2016

****

 

hamlets

Hamlets, father and son

 

I enjoyed my trip to Clapham to see a sensibly slimmed-down version of Hamlet that also included a song from Cymbeline interpolated.  In true Shakespearean style we had an all-male company entering and exiting by the door of an upstairs bar to play on a stage erected at one end of the room; a strategically-placed curtain led me to expect Polonius to be stabbed through it, but that was not to be.

I thought that Benjamin Way’s mercurial and mood-shifting (but not mad) Hamlet was very good, and I also enjoyed the Queen Gertrude of Lee Peck.  The production kept the action moving and was as promised crystal-clear. At times I thought we might be going in a different direction with Hamlet just Hamlet and his rages and reveries and the rest orbiting distantly around him; but that was not to be either.

During the interval Claudius was anxiously checking his smartphone and behind me the young people were keen to see who had got whom on Tinder and Plenty of Fish; but maybe these were not connected.

When I was a young, I was tormented by the characters’ names clearly not being Danish–apart from Gertrude. Last night, that was still worrying me-the back of the Signet edition says that the story comes from one Saxo Grammaticus who had Feng instead of Claudius, Gerutha for Gertrude and no names for the rest.   It also occurred to me for the first time that if you took away the poetry [laughs bitterly], the story with its rain, death, cold, death, infidelity, death, treachery, poison, death, muddy graves, regrettable gravedigger jokes, rats, cold wet death and so on could be typically Danish.   But the willow grows aslant a brook is surely nowhere else but Warwickshire…

See here for a video clip from a performance in Norway.

Three Irish Classics, Pentameters Theatre 23 August

August 26, 2015

*****/**/***

'Riders to the Sea' from irish-theatre.com

‘Riders to the Sea’ from irish-theatre.com

I was somewhat daunted by my first visit to Hampstead this millennium, with the climb up the hill once I had scrambled off the bus and the shops with their signs in Hampstead-French.  But the young couples on the pavements seemed to be talking German to each other.

But once I had found the pub and climbed up some stairs, I was reassured by the welcome from producer Léonie Scott-Matthews and her charming assistants, not to mention the pleasingly mismatched seating.

Of the three pieces that made up 65 minutes’ running time, Riders to the Sea (J. M. Synge) was the first and best, and Maura’s despair struck home with me:

Michael has a clean burial in the far north, by the grace of the Almighty God.  Bartley will have a fine coffin out of the the white boards surely…What more can we want than that?

The Pot of Broth, by W. B. Yeats, was a peasant farce where the tramp hero had undergone gender reassignment and the plot recycled the good old nail stoop story.  Perhaps the tramp’s imaginings could have been given more space to breathe and the host and hostess changed their minds less easily.

Finally, The Travelling Man by Lady Gregory (in fact, both of these two were more like collaborations between her and Yeats) got a little stuck between being a much shorter Playboy of the Western World and a Biblical parallel. Again, the mother passed a little too matter-of-factly from ejecting the Traveller to despair on realising she had lost the King of the World.

Definitely an experience worth ascending the Golden Mountain of Hampstead for.