My favourite lockdown theatre so far and to look forward to

If you are, like me, a well-to-do theatre nut, missing the real thing, trying, unlike me, to fit in the panicking, worrying, exercising, zooming, reading, binge watching, baking, eating, on-line shopping, goal-satisfying, caring, and maybe working, then you have probably already been overwhelmed by the streaming opportunities already served up in the last few weeks. This plethora is easy enough to track via the MSM and WWW but less easy to watch with certainty of satisfaction what with all these other calls on your time.

Which is where the Tourist comes in. A professional loafer, all he has had to do is swap a seat in the many London, and elsewhere, theatres for his own armchair, saving tine, and a few quid on transport, which can usefully be donated to those very theatres whose need is greatest. Of course, however well filmed, these broadcasts are no substitute for the real thing, as I am sure you will have realised. Theatre is a collective enterprise, a shared experience, which comes alive with performance.

Even so there have been, and there are set to be, some absolutely belting productions coming to a screen right next to you. (OK some some have come and gone but all the more reasons not to miss what is in store). Here are some of my favourites, (just theatre though I have been gingerly dipping into the bucketload of opera that is also available). So dump those Netflix box sets and get cultured. Oh. and don’t be shy about turning on the subtitles. Not just for the foreign stuff. This is your chance to watch Shakespeare with all the text and nail the plots so that next time you can nod or chuckle knowingly at points of verse detail and savour the Bard’s, and the creative team’s, extraordinary insight into the human condition. Thus becoming a true luvvie.

(N.B. No order implied here. Just chronological and reflecting the fact that I can’t seem to format the list in WordPress. Those who have had the misfortune to work with the Tourist will be painfully aware of his technological shortcomings, most tellingly when they are stood at his shoulder, eyes rolling, as he adopts the most inefficient strategy possible for manipulating information on screen).

Best watches so far

  1. Fragments. Beckett by Brook. From Theatre Bouffes des Nord. Rough for Theatre I/Rockaby/Act Without Words II/Neither/Come and Go. Peter Brook and Marie-Helene Estienne’s collection of Beckett miniatures, from a cast of specialists, Jos Houben, Kathryn Hunter and Marcello Magni. If you thought Beckett was a load of miserable, impenetrable twaddle, think again. This is hilarious and never outstays its welcome. Well maybe not true for Rough for Theatre I. Still available on their Vimeo channel.
  2. It’s True. It’s True, It’s True by Breach Theatre. So I finally had tickets for this at the Barbican with the intention of taking BD along. So very pleased to see the production popped up on line when the tour had to be cancelled. Had heard good things about it and I can confirm that it delivers on its promise. The Artemisia Gentileschi exhibition at the National Gallery has been postponed though I gather one fine day us Brits will still get our chance to survey the work of this most talented Caravaggisti/feminist icon. Her story and her influence are undeniable though the power and beauty of the paintings takes your breath away even before you get into the interpretation. Bar the Capodimonte in Naples you have to get about a bit to see many of her 60 0dd attributed works though so this UK first is set to be unmissable. Anyway you culture vultures will already know all about her. In ITx3 Breach Theatre, Billy Barrett, Ellice Stevens, Ellie Claughton and Dorothy Allen-Pickard, here joined by cast members Kathryn Bond, Sophie Steer and Harriet Webb, convert the verbatim Latin and Italian texts of AG’s 1612 rape trial into modern vernacular, and turn it into hard-hitting drama, complete with lessons on key paintings. It’s brilliant. It was on I Player for a bit but is now available elsewhere: try the New Diorama site. And slip the company a few quid so that they can keep making theatre of this quality.
  3. The Crucible. Old Vic Theatre. I missed Yael Farber’s lauded production from the Old Vic in 2014 with a cast led by Richard Armitage and Anna Madeley. Ms Farber’s moody atmospherics and precise point-making don’t always work. Here they do though. faultlessly. OK so it is one of my favourite ever plays but this is the best thing I have seen in recent weeks. 8 quid to rent from Digital Theatre but worth every penny.
  4. An Enemy of the People. Schaubuhne Berlin. And here is the second best watch. SB has been extremely generous with its offering even for those of us no German speakers. What with Beware of Pity, Katie Mitchell and Alice Birch’s take on Orlando which couldn’t make it to the Barbican, Thomas Ostermeier’s full on Hamlet with Lars Eidimger doing his best bonkers gurning and, most recently, TO’s Hedda Gabler, with Katharina Schuttler brilliant as a bored child-woman Hedda. Best of the lot though was the wunderkind director’s take on another Ibsen classic, An Enemy of the People. Dialogue, even in translation, utterly contemporary without missing a beat from HI’s argument. Wild Duck might just edge it for best Ibsen ever in my book but, with AEOTP, as a satire on the complexity of morality, despite, or perhaps even because of, the alarming twist in Stockman’s public positioning, few writers have come close before or since. Done properly all Ibsen should knot up stomach and mind and Ostermeier and company cut straight to the chase here. Just wish I could understand the debate between audience and cast, in character, when the fourth wall is cracked for the Act IV town meeting scene. The production was banned in China when it toured in 2018. Nuff said. Unfortunately all these SB productions are one night only affairs but I urge you to keep your eye on the programme.
  5. Frankenstein. National Theatre. Missed this in 2011 so ecstatic when NT added it to their list. You might disagree with the balance of the themes from Mary Shelley’s original which Nick Dear’s adaptation focussed on, and with the somewhat episodic structure, but hey you have to agree that Danny Boyle can put on a show. And the lads Cumberbatch and, only marginally less so, Lee Miller, know their way round a stage. The rest of the NT At Home season, The Twelfth Night, with that performance from Tasmin Greig, Sally Cookson’s Jane Eyre and One Man, Two Guvnors, (though it did lose a bit from live stage to screen I admit), all delighted, and I am about to catch up with Antony and Cleopatra, but they count for less as I had seem them all in the flesh as it were.

There have been a few other highlights. Caryl Churchill’s menacing Far Away from the Donmar which we missed live, Gary Owen’s Iphigenia in Splott with Sophie Melville available on Digital Theatre, Simon Godwin’s RSC production of Two Gentleman of Verona, (SG may just be the best Shakespearean director right now), available on that Marquee TV, Imitating the Dog’s labour of love with their Night of the Living Dead REMIX, (available on a pay what you like basis), though the filming of the filming of the acting of a film dilutes its impact a little, and the RSC Richard II with David Tennant, also on Marquee TV. Oh and last night’s revisit of Christopher Luscombe’s RSC Much Ado About Nothing, (or Love’s Labours Won as he would have it), on BBC I Player. All did the business.

On the watch-list

What next? A few recommendations first based on prior watches, so the Tourist can confirm their quality.

  1. The Phyllida Lloyd/Harriet Walter all female Donmar Shakespeare trilogy (The Tempest, Henry IV and Julius Caesar) from the Donmar. No need to enact the kettling pre-performance that was feature of the Kings Cross version. Digital Theatre or Marquee TV take your pick.
  2. Melly Still’s RSC Cymbeline also on both DT and MTV. Ms Still, with her heart on sleeve, gender switching, state of the nation, physical theatre remake manages to, just about, make something out of one of big Will’s more puzzling creations.
  3. The Encounter from Complicite. The genius who is Simon McBurney takes you on a full on sensory journey into the heart of darkness. This was, literally, made for headphones so should convert well in the at-home experience. On the Complicite website from 15th May for a week.
  4. A Doll’s House from the Lyric Hammersmith. For one night only on the 20th May on the Lyric’s YouTube channel. Tanika Gupta’s resetting of Ibsen’s proto-feminist classic to 1879 Calcutta lends depth and resonance.
  5. Barber Shop Chronicles from the NT. All of the next 4 NT offerings look unmissable to me. If you haven’t seen Inua Ellam’s vibrant BSC you are in for a treat. On the NT YT channel from 14th May.
  6. This House from the NT. If you liked James Graham’s Quiz on ITV recently then don’t miss what he does best. Recent(ish) political history as comedy. TH tracks the minority Labour government in the 1970s showing how our political class is doomed to repeat itself. From 28th May.

And here are the pick of the productions that are new to me and about which I am very excited.

  1. A Streetcar Named Desire from the Young Vic. From 21st May for a week through the NT At Home initiative this is Benedict Andrew’s sprawling interpretation of Tennessee Williams’s magnum opus from 2014 which, inexplicably, I was too late to get a ticket for and, idiotically, dismissed watching in the cinema.
  2. Coriolanus from the Donmar Warehouse. Ditto the above. Missed out because of work and other stuff and have been desperate to see this ever since. Coriolanus is just one of my absolute favourite Shakespeare’s and Josie Rourke’s economical take has sone fella called Tom Hiddleston in the title role and a bonkers-ly luxuriant cast around him. From 4th June vis the NT again. I cannot wait.
  3. Ghosts from the Almeida. Available on Digital Theatre. This is the Richard Eyre production with the peerless Lesley Manville, alongside Jack Lowden and Will Keen, which belts through Ibsen’s grimmest family tale in 90 minutes. That’s my happy place evening viewing sorted.

Enjoy. And donate. So that the theatre will still be there when we get out of this pickle.

As You Like It at the Barbican Theatre review ***

As You Like It

Barbican Theatre, 15th January 2020

As You Like It? Not really like this. Mind you I have yet to see a production of the play that really bowled me over. The NT production from 2016 directed by Polly Findlay looked great, office chairs becoming the Forest of Arden, and reminded us of the immense talent of Rosalie Craig and Patsy Ferran, but didn’t quite do it for me and I have a vague recollection of a previous RSC outing with Niamh Cusack as Rosalind and David Tennant as Touchstone. So maybe it is the play that doesn’t quite persuade.

I get that Will’s exploration of gender roles, sexuality and the rules of attraction still intrigues and resonates. And I get that, as a paean to the joy of love, and specifically the slippery notion of “love at first sight” there isn’t much better in the Shakespeare, or any other, canon. And it has a couple of pukka roles for women. As a generally miserable f*cker I can’t help but be attracted to eeyore Jaques and there are plenty of laughs, though they don’t always land from the lips of the sketchier supporting characters and some are just too knowing. What I don’t really buy is the whole pastoral, simpler life vibe, the magical forest is more convincing in AMND, and, absent Rosalind and Celia, I have never been convinced by many of the relationships, courtly and common, of which there are too many to really round out character. The banishments, and reconciliations, of Fred and Duke Senior, and the du Bois boys (here Leo Wan and Aaron Thiara), isn’t properly explained or resolved. The songs are a bit ropey. The prose and verse inversion and switching can be distracting and adds to the bitty, “a string of chance encounters”, quality of the play.

There are however plenty of other WS plays where similar criticisms might be levelled. But plot, character, language, message and spectacle, or some combination thereof normally finds a way to lift you up and into the world of breathless, nothing else matters, concentration that is the magic of the Bard. So maybe as I say I just need the right production of AYLI.

Here Kimberley Sykes, the brains behind the RSC Dido from 2017 which the Tourist annoyingly overlooked, has offered up a timeless Arden, supported by Stephen Brimson Lewis’s design, which focuses on the key connections, between the excellent Lucy Phelps’s confident Rosalind, her forthright bessie coz Sophie Khan Levy and a gentle, though ardent, Orlando in the form of David Ajao. Sophie Stanton, as a detached, almost inert, female Jaques, was polished, and Sandy Grierson, once again, stood out with his grotesquely camp Touchstone.. A whole bunch of gender switching for the other roles left the characters even less defined than normal, and, whilst it was not difficult for an actor of Antony Byrne’s quality to pull off the roles of both Dukes, I am not sure I got the point in a play already stuffed with mistaken identities.

There were a lot of nice visual touches, but there were also times when the cast seemed to be keen to move on to the next scene, lines a bit too hurried, and some of the blocking felt a little unconnected on the roomy Barbican stage. And then there was the lighting, designed, as were the costumes, by Bretta Gerecke, which was often the wrong side of insistent. And then there was the audience participation. And a giant puppet of Hymen, god of marriage, looming over Lucy Phelps as she delivers her, slightly desperate, epilogue at the end.

Measure for Measure at the Barbican Theatre review ****

Measure for Measure

Barbican Theatre, 8th January 2020

I like Measure for Measure. I find the weird cocktail of morality play and satirical “comedy” fascinating. No one comes out of it well, not even the ostensibly virtuous Isabella who goes into bat to save brother Claudio from death, but is prepared to sign off on a pretty dodgy deal to further this aim. The stench of corruption infects even the pure. This makes it a very “modern” play I guess, which is why it is getting multiple airings, with much to say, in the right hands, about the complexities of power and desire. Not quite at the top of Will’s oeuvre but certainly in the top ten. Which, for your edification, I set out below.

  1. Othello
  2. Hamlet
  3. Julius Caesar
  4. Much Ado About Nothing
  5. Richard III
  6. Coriolanus
  7. Henry VI, Part I, II, III
  8. Richard II
  9. Measure for Measure
  10. Pericles

What no Lear? Or Dream? Or Romeo and Juliet? Or Tempest? Or Twelfth Night? And Coriolanus included? And, are you mad mate, also Pericles? Well yes I like the latter’s daft fantasy travelogue, even those bits which stem from the unsubtle hand of George Wilkins, and Coriolanus strikes me as the very model of classical tragic hero, not prone to bouts of soul sharing pace Lear, Macbeth or your boy Hamlet. And the list shows pretty clearly that I like history plays. Power, politics, virtue, honour, social as well as individual psychology, the ruler and the ruled, corruption, narcissism, jealousy. These are the things that interest me. The dark side of human nature that Will explored forensically and which make many of these plays relevant to our, or any other, time. Don’t worry though. I am not a weirdo. Much Ado About Nothing is in there.

Of course much depends on the productions I have seen and I think I have been blessed in recent years in the history and “Roman” play departments in particular. Maybe one day I will see a Macbeth or Lear that truly persuades. That’s the thing with Shakespeare. Ultimately malleable, such that creatives and cast can usually find something, language, message, narrative, character, spectacle, in which to delight and illuminate.

As here. Gregory Doran is probably the most reliable Shakespearean director of our time, useful when you are the big cheese at the RSC. Maybe not the most spectacular of interpreters but always clear in purpose and execution. No gimmickry with this, which I think is his first stab at MFM, unless you count setting the play in fin de siecle Vienna, a point in the city’s history when virtue and corruption, intellect and expedience, reached there apogee, and, arguably laid the ground for what followed, good and bad, very bad, in much of the Western world through the first half of the C20. It is almost as if big Will, with his fictional late C16 fictional Vienna could see what the real city would become three centuries later. (I gather this connection has been made in previous productions).

Otherwise GD, and designer Stephen Brimson Lewis using the set structure common to the season’s productions of As You Like It and The Taming of the Shrew, with added monochrome projections as well as 1900s period costume, don’t muck about with text or cast. Paul Englishby’s score echoes with waltz. Escalus, in the hands of Claire Price, is re-gendered, as is the Provost (very effectively by Amanda Harris), but then again Mistress Overdone is, campily, handed to Graeme Brookes. But there is no wholesale gender politics reinterpretation here. And the text is, I think, complete so that said Overdone, Pompey (David Ajao versed with Afro-Caribbean sonority), Elbow (Michael Patrick) and the major, (Joseph Arkley especially as supercilious Lucio), and minor fops and fop-esses, all get their due, though the wordplay comedy requires our close attention.

RSC veteran Antony Byrne unsurprisingly nails the Duke/Friar, a man convinced of his own righteousness as he is blind to the flaws in his exercise of power, James Cooney is a quietly desperate Claudio and Lucy Phelps excels as the virtuous novice, at least until the scheme to uncover Angelo’s hypocrisy is set in motion, Isabella. But the whole is held in place by a marvellous performance by Sandy Grierson as said self-scourging Angelo, who really gets to the heart of said Angelo’s conflicted nature. Or is he, as here, not really quite as conflicted as he makes out, revelling in the opportunity to root out Vienna’s impurity whilst lusting after the eloquent nun. The ghost of an approving Freud was probably sitting in the gods.

Mr Grierson stood out in Jude Christian patchy OthelloMacbeth at the Lyric, Pity at the Royal Court and in As You Like It (of which more to come) in this RSC season but, unfortunately, I have missed him in the other RSC roles he has played in recent years, and on various stages in his native Scotland. I suggest you ensure you see him next time he treads any accessible boards.

The trick in MFM, assuming no re-interpretation, is having the two main characters in Isabella and Angelo both repelled by sex, but also, somehow, fascinated by the idea of desire, which drives the pivotal argument scenes between them. They are both, literally in joint prayer, holier than thou, at least until Angelo cracks. GD’s clear headed direction, and Lucy Phelps’s and Sandy Grierson’s delivery of the text, expertly unfolds the dichotomy between the sacred and the profane. And there is no hiding from the fact that Angelo, and, through his casual “proposal” at the end, the Duke, even maybe against his preference, are choosing to be rapists.

Lots of detail, well thought through, ambiguity and double binds not brushed away. This is not a problem play. The problem, as ever, is us humans. If you want a contemporary feel-gooder with a happy ending go see Everybody’s Talking About Jamie.

The Taming of the Shrew at the Barbican review ***

The Taming of the Shrew

Barbican Theatre, 2nd January 2020

What to do with Taming of the Shrew. Pretend the framing device with Sly deceived by Milord gets you off the hook. Not sure audiences buy that. Mine the text very carefully and add detail through direction which undermines the misogyny. That takes real skill. Ironically play up the “comedy”, and cast Kate and Petrucio’s final lines as a “show” to mask them coming together, and hope the audience keeps up. Play it straight, as nasty as you dare, even venturing into dark psycho-sexual territory, and hope the audience sees that Will S, as we surely must assume, him otherwise being the unparalleled oracle of the human condition, meant for us to recoil at both the story and our reaction to it. (Though remember John Fletcher, Shakespeare’s successor with The King’s Men felt compelled to write a now rarely performed response to Shrew, The Woman’s Prize, in which Petruchio’s second wife “tames” him). That can work but don’t be surprised if modern, as contemporary opinion did, criticises.

Or change gender as here? One of the best versions of the play that I saw was Edward Hall’s all male version for Propellor. Sly (Vince Leigh) became Petruchio, the misogyny is initially ridiculed in a genuinely funny production, but then becomes more menacing, punky Kate (Dan Wheeler) continually fights back making his/her final submission even uglier. The point being that Sly will continue the cycle of male violence outside the play.

In this RSC production directed by Justin Audibert, not for the first time, the genders are reversed, with Claire Price now a swaggering, derring-do Petruchia, and, names unchanged, Joseph Arkley the very pliant Katherine, the object of her undoubted affection, and James Cooney his more attractive and preening brother, Bianco. Padua becomes a matriarchy, pronouns are judiciously changed, gags retained, but it still doesn’t properly scrutinise the dominance/gaslighting power plays at the heart of the action. We already know what is wrong with or without role reversal.

Elsewhere though the inversion adds sheen, notably the wooing of Bianco by the salacious Gremia (Sophie Stanton complete with comedy glide pace Mark Rylance’s Olivia), the inept Lucentia (Emily Johnstone) aided by her capable sidekick/double Trania (Laura Elsworthy) and Hortensia (Amelia Donkor). The deceptions, rivalries and put downs all entertain. Amanda Harris as Mum Baptista, Amy Trigg as Lucentia’s other servant Biondella and Melody Brown as Vincentia, Lucentia’s mum all have fun with the roles.

The production looks terrific thanks to Stephen Brimston Lewis’s set (here seen to best effect when compared to the other RSC productions in the season) and Hannah Clark’s costumes. Composer Ruth Chan gets away with her “rock Renaissance” vibe. And Alice Cridland’s marshalling of wigs, hair and make-up mightily impressed. But none of this really solves for the fact that simply reversing and softening the genders and positing a social order that doesn’t, nor ever did, exist, can’t magic away the central offence. Which, in itself, is a lesson.

Much Ado About Nothing at Wiltons Music Hall review ****

Much Ado About Nothing

Wilton’s Music Hall, 19th November 2019

The Tourist has been very much taken with previous Shakespeare at the Tobacco Factory productions, Othello and Henry V, both here and on home turf in Bristol. This latest, MAAN, directed by Elizabeth Freestone, as was Henry V, and who will be bringing Stef Smith’s take on A Doll’s House to the Young Vic next year, didn’t quite match these predecessors but still provided an entertaining, if inconsistent, evening of Shakespeare comedy.

At least it did when I snuck downstairs in the second half. I had forgotten just how dire the sound is upstairs at WMH, blighted by reverb, even if there are now some comfy perches. Not a big deal, and for some of the actors no deal at all, but it did mean that I had to strain to hear the lines of, particularly Alice Barclay as Ursula, Dorothea Myer-Bennett as Beatrice and Imran Momen as Claudio. And, in Shakespeare, every word counts, however often ypu may have seen or read the play. In fact the more viewings the richer the language becomes.

Now MAAN is a comedy. And, unlike some of the Bard’s other comedies, it largely sticks to the make the punters laugh script. Even so, in amongst the comic couplings and the gossip, rumour, eavesdropping and misunderstandings, the “noting” of the original title, there are some dark ideas, to do with honour and patriarchal dominance, as Daddy Leonato (Christopher Bianchi) farms out his daughter Hero (Hannah Bristow) to Claudio and doesn’t for a moment consider she might be innocent of the charge of adultery. As ever with WS there is a questioning of gender stereotypes, even as those stereotypes are played out, which is what drives the comedy and is what Ms Freestone alights on in her interpretation through her gender blind casting, notably Georgia Frost (who stood out as she did in Kneehigh’s Dead Dog in a Suitcase), as Don Pedro’s (Zachary Powell) here sister Don Jon, and, less successfully Louise Mai Newberry as Dogberry.

Of course MAAN largely succeeds or fails on the “chemistry” between Beatrice and Benedick and here Ms Myer-Bennett, who it has been my pleasure to see in multiple plays in the last few years, and Geoffrey Lumb, who is a fine, and experienced, Shakespearean, were up for the fight. Verbal sparring only, of course, but sufficiently pointed throughout that at the end, you still sensed they would be chary of each others’ true feelings long after the ceremonies when we had all left Messina. Maybe not quite up to the benchmark set by Lisa Dillon and Edward Bennett in Christopher Luscombe‚Äôs RSC version from 2017 but still eminently watchable. Ms M-B’s Beatrice is, by some way, the smartest person in the room, but wields her fierce intelligence deliberately. Underneath the boorish exterior typical of his profession and sex there lurks a sensitive soul in Mr Lumb’s Benedick.

Some of the other relationships in the slimmed down dramatis personae don’t work quite as well. This tender Claudio’s love for his demure Hero persuades, his harsh about-turn later on less so. The soldiers’s banter works, the sibling rivalry between the Don’s seems forced. The party, complete with superhero costumes, clever, excites, the pivot to the disastrous wedding day, feels telegraphed, and the switch back to what is, in fairness, not the most hilarious Watch scene I have ever encountered, seemed to take this audience by surprise.

All in all, whilst there are some splendid passages and performances in the production. all set against Jean Chan’s delightful design, the rhythm of this STF production is just a little too erratic. However, once I was up close, the largely prose dialogue was, without exception (which is not always the case), pin sharp in its delivery. Whilst the look, feel and intention of the production is to present a MAAN for all time, that it works is largely down to this lucid approach.

Minus the echo of course. Won’t make that mistake again.

Alls Well That Ends Well at the Jermyn Street Theatre review *****

All’s Well That Ends Well

Jermyn Street Theatre, 6th November 2019

Hard to credit but the Tourist had never seen a production of AWTEW until now. Which made the pleasure in seeing Tom Littler’s pint sized production, in tandem with the Guildford Shakespeare Company, even sweeter. Wiki tells me that AWTEW is, by Will’s standards, a compact play with 13 named characters as well as the usual stand-in “Soldiers, Servants, Gentlemen, and Courtiers”. Mr Littler has whittled it down to a cast of 6 with some clever excisions, revisions, re-inventions, gender changes, doubling and tripling. And some precise choreography, thanks to Cydney Uffindel-Phillips, to make it all fit the tiny JST stage.

Now as far as I can see all the elements of the plot, pinched from The Decameron, are present and correct though I can’t be sure about the detail of the text. Doctor’s daughter Helena, the graceful Hannah Morrish who has already impressed in the RSC’s 2017 series, Julius Caesar, Titus Andronicus and especially Coriolanus, as well as Simon Godwin’s Tony and Cleo at the NT, is in love with the up himself Bertram, a well judged performance from Gavin Fowler. His Mum the Countess (Miranda Foster take 1) is on board but Helena heads off to Paris to cure the sickly Queen (not King) of France (Miranda Foster take 2) who commands Bertram to marry her as the payment for her healing hands. The cad scoots off to war, with his chum, prize arse Parolles, Robert Mountford having about as much fun as it is possible to have on stage whilst still nominally acting, telling Helena he will truly be hers if she bears his child and wears the family ring. The Countess disowns him, Bertram turns his charm on one Diana (Ceri-Lyn Cissone take 1), she and Helena hatch classic bed swap routine. Ring secured, sexy time wrapped up. Helena fakes death, naturally, Bertram returns home to marry aristo but Helena interrupts. Bertram bowled over. AWTEW.

Overseeing the capers is one Lord Lafew (Stefan Bednarczyk) and Miranda Foster’s final incarnation as a Florentine widow and Mum of Diana. Oh, and of course, there is a whole comic routine mocking the bravery of wind-bag Parolles, facilitated by a handy, invented, soldier Dumaine, also Ceri-Lyn Cissone.

Mr Bednarczyk and Ms Cissone are not on stage just for their, fine, acting skills though but also for their facility on a piano. For, if music be the food of love …. I know wrong play but music is central to this production, though not maybe always quite the tunes you might expect. Helena loves her vinyl collection with Rumours, Horses and Blue, (look ’em up Gen Z), forming the soundtrack which are expanded and extended in some nifty arrangements courtesy of Stefan B himself. I can see why the one-size fits all lyrics of The Chain might fit the AWTEW bill though I was a little less sure elsewhere. But the music acts as a very pleasing counterpoint to the text and creates continuity in the shifts between the scenes.

As I say this is a logistical triumph with lighting (Mark Dymock) and sound (Matt Eaton) tailored to fit Neil Irish and Annett Black’s glam, cardboard box set, which like the play itself, works way better on stage than on page. But that was just the admirable starting point in Tom Littler’s direction. How to make the audience believe that the lovely, perfect in every way, Helena would fall for the shallow, man-chump Bertram? And especially believe his turn on a sixpence, she’s the girl for me, at the end. Is it because he was always secretly in love with her, just paralysed by the class divide? Or is it because he cannot, or will not, lose face at the end?

Not in this reading I think it is because we, like her, believe he can get better and that his initial dismissal is in part youthful inexperience. And she is the maturer, having had to grow up fast after the loss of her parents, (she regularly caresses her keepsake box), and not driven by money or status. Which is what makes it a thoroughly modern rom-com, for both good, it is hard not to like the set up, journey and the happy ending, and bad, it really is still the most sexist tripe when you think about it. But because both hero and heroine learn something about themselves along the way, once again the Bard, gets away with it, in our age as well as his. Of course there is clowning and plotting which are knowing in their familiarity, and, in Parolles, we have one of WS’s finer comic creations, whose comeuppance, as he rats on Bertram, is salutary.

This then is a dreamy, charming productions which has charmers at its heart, including, Queen, Countess and, in her way, Widow, and uses Helena’s unspoken memories as a way to solve some of the “problems” that this lesser-performed play presents. The intimacy of the staging, every single expression is conveyed to very single audience member, and the strength of the performances, also helps to frame and unify the production which just about magics away the abrupt shifts in tone.

And anyway, let’s face it, all this guff about Shakespeare’s problem plays is exactly that. They all contain “problems”. Life is full of problems. Veering from comedy to tragedy, with dead ends, changes of heart and head, and never really making any sense. Will knows that, and knows that we know that. Marriage may have been couched in rather ore prosaic terms in Elizabethan England but Tom Littler has, by rolling with Shakespeare’s invention, found a way to create a minor key classic.

Macbeth at the Chichester Festival Theatre review ***

Macbeth

Chichester Festival Theatre, 16th October 2019

Still waiting for that, ha ha, killer production of Macbeth. This unfortunately wasn’t it. Paul Miller, the inestimable AD of the punching-above-its-weight Orange Tree, had money to spend here. An 18 strong cast (with many actors in minor roles that had caught my eye before), so minimal doubling, led by John Simm and Dervla Kirwan as milord and lady, a beautifully designed set from Simon Daw, with lighting (Mark Doubleday), sound (Max Pappenheim) and video (Tim Reid) to match all set with the excellent sight-lines afforded by the Festival Theatre. And a full house boosted by enthusiastic GCSE’ers.

It certainly looked and sounded impressive. A circular glass floor which split open during the murders covering a pit of bodies. Some well tailored costumes in the non-specific militaristic style which defines modern Macbeths. A banqueting table straight out of Heals which would enhance the poshest Xmas lunch. Every lighting trick in the book including overhead “crown”. Atmospheric video signalling ghosts, heaths, blood, clouds, Dunsinane, Birnam Wood. Weird Sisters (Roseanna Frascona, Lauren Grace, Leah Gayer) sporting Strawberry Switchblade chic who keep popping up, again in the modern Macbeth fashion to frame the action. A proper Porter (Harry Peacock). An explicit nod to the Macbeth’s grief at the loss of their child. Dissonant strings and menacing percussion.,

But for all that it was, well, bloodless. Which for Macbeth is not a good look. John Simm especially, and Dervla Kirwan, delivered the verse faultlessly, (even up to my perch at the back which afforded a perfect view of the visual feast). Yet they both lacked a bit of passion, at least until things got going in Act V post the Macduff genocide. They were well supported by Beatriz Romilly as the gender-switching Malcolm, Stuart Laing as Banquo and Michael Balogun as Macduff. Mr Miller’s deliberate pacing, this ran for 3 hours, brought clarity to each individual scene and petty much nothing was left out. However Macbeth is a story that needs momentum. A hurtling towards the inevitable conclusion. We know the story so crack on. Then the repetition and call backs in the text have greater impact and the madness more harrowing.

I couldn’t help thinking that, with these two outstanding actors, half the cast and just the Orange Tree space to play with, Paul Miller might have actually come up with something more visceral if he had stayed at home. Being right up close as the blood flows and the minds unravel. No need for all this overthinking. Mind you I guess directors, like us all, have to follow the money.

Exquisite Sound. Designer Fury. Signifying … well not nothing but not as much as it should have done. Still there’s always tomorrow. And Tomorrow. And Tomorrow. Because the one thing you know is that Macbeth will be coming to a theatre near you soon.