Just shy of four months. That’s how long it’s been since I’ve
updated this blog. I’d like to make excuses and believe you me, I have a
plethora of them. Some of them valid, some of them pure avoidance. But rather than offer those up as
self-exculpating form of panacea for my readers
- to those who have stuck by me, I am tremendously grateful – I will
simply apologise and endeavour to be better . If I do not submit a report a day
during my sojourn in Edinburgh for the Fringe, you may hold me fully
accountable!
First report due on Monday ….
In the meantime, here’s an overview of some of the plays I’ve
seen over the last few months:
Othello (National Theatre): Curious soundtrack choices aside, this is a
very strong production of one of Shakespeare’s most famous plays. Adrian Lester
brings pathos and passion to a role which in other hands has tipped so easily
into hysteria, but the star performance comes from Rory Kinnear’s multi-layered
turn as Iago, finding humour in the most ordinary of gestures. ****
The Cripple of Inishmaan (Noel Coward
Theatre): There’s something special about a play where the audience claps
at the end of every scene. Great acting, tight direction, and a ceaseless
onslaught of humour make for an incredibly enjoyable night out. ****
Strange Interlude (National
Theatre): A slower first half gives way to an energetic and engaging second
half. Impressive set design, perhaps unnecessary with the strength of the
performances, nonetheless adds to the glamour of the backdrop. Anne-Marie Duff
is utterly convincing at every stage of Nina’s development over the years and
she is very ably supported by an excellent surrounding cast. ***1/2
Private Lives (Gielgud Theatre):
Noel Coward at its best. Played with malicious glee, a twinkle in their eye,
and an understated delivery of witticisms, the protagonists are compelling and
horrendous in their relationship - Anna Chancellor and Toby Stephens as Amanda
and Elyot respectively are both at the top of their game. Their saner,
healthier counterparts are equally engaging, albeit primarily in a contrast and
compare scenario. Riotous and
rollicking, and ending far too soon. *****
The Hothouse (Trafalgar Studios):
John Simm and Simon Russell Beale deliver, as ever, wonderfully timed and
witty performances in a show which for some reason doesn’t quite thrill. Maybe
it was the supposedly good but incredibly hard seats. Maybe it was the
occasional bad turn and a certain strange abruptness. Good, just not brilliant.
***
The Tempest (Globe Theatre): I
have no memory of the Tempest being this entertaining – slogging through
Shakespeare in Year 8 rarely inspires a child – but every opportunity is taken
in this production, without ever resorting to cheap tricks. The ostensibly
against-type casting of Joshua James as Ferdinand is astonishingly effective when used
in-line with the slightly tongue-in-cheek delivery of the play’s representation
of the eponymous hero. Highlights include Caliban’s engagement with the
audience and Roger Allam’sa wonderful performance as Prospero. *****
http://www.shakespearesglobe.com/theatre/whats-on/globe-theatre/the-tempest-2013
(final performance 18/08/2013)
For my reviews of shows from the Camden Fringe, including
Australian ventriloquists (Sarah Jones Does Not Play Well With Others) and City
fat cats (Fat Cat), visit: http://www.femalearts.com/
