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.

The Tempest at Greenwich Theatre review ****

The Tempest

Greenwich Theatre, 16th February 2019

As my dear old mum would say “sometimes Michael you would forget your head if it wasn’t screwed on”. Not for the first time the Tourist managed to leave the programme for this performance by Lazarus Theatre Company of The Tempest in a shopping basket in Marks and Spencer’s. Which regrettably means I can’t call out all the excellent performances of this generally young and upcoming cast. Sorry.

I can however once again recommend director Ricky Dukes’s way with classic texts. The Tempest followed on from A Midsummer Night’s Dream, Lord of the Flies and Edward II. All at the Greenwich Theatre and all created on a shoestring. There is an energy, vitality and intelligence that this director and company bring to their interpretations that put many a bigger company and budget to shame. To be fair this doesn’t quite match the best of the Tempests the Tourist has seen in recent years, the all female Donmar version from Phyllida Lloyd or the technologically enhanced RSC version with Simon Russell Beale, or my all time favourite from the RSC in 1989 with John Wood as Prospero, but it delivered some fresh (to me) insights and some proper spectacle.

Casting a female (or indeed non-binary) Prospero is not new. But casting a man as Miranda is to me. Micha Colombo’s Prospero was a benign, loving mother, seemingly devoid of rancour at her fate. She was always going to forgive the nasty Milanese and Neapolitans. Alexander de Fronseca as Miranda (no changes to text required) was the picture of innocence. No sign of the perplexing street-wisery that overtakes some Mirandas in order to simulate agency in the romance. Aaron Peters was a little less secure as Ferdinand, (he suffered, along with the shipwrecked aristos from some sizeable cuts to the text), but they made a lovely couple (and Prospero here seems to agree from the start). Abigail Clay’s Ariel had all the right, sprite moves but, mirroring Prospero, was more accepting of his/her bondage and keen to get the job done and taste freedom. Having Antonio (Peace Oseyenum) as a sister to Prospero also made for an interesting perspective.

The Tempest is about many things: autobiography, art, learning, theatrical illusion, magic, Manichaeism, justice, revenge, forgiveness, free-will, sexuality, post-colonialism and male dominance. It is about as pure a Romance form as big Will conjured up (ha, ha) and strictly obeys the unities of time, place and action, (though with all the supernatural goings-on it is pretty clear that WS is taking the Aristotelian p*ss). It has bags of Classical allusion in text and plot. Overall though, and despite the “flat” nature of the characters, I think the message is that it is good to be alive and good to be human. That is certainly the case here.

Mr Dukes once again makes abundant and inventive use of light (Stuart Glover) and sound (Sam Glossop) to offset a limited budget (I assume) for set and costume (Rachel Dingle). Prospero’s island is imagined as a light filled hexagon on the stage floor which opens up at the front, to reveal a deep blue sea. The light shifts with the narrative so that by the end the stage is bathed in red. Light, sound and the energetic cast literally kick up a storm at the opening. The dance and drone rhythms punctuate the rest of the play. It doesn’t always work but when it does it is undeniably effective. Costumes are work-a-day modern dress except for Prospero, where Micha Colombo is clad in green and red fairy ball-gown and cape (which works far better than it sounds). There is constant movement from the cast with the aisles and auditorium once again playing a part. Umbrellas double up as swords and, rainbow coloured, as props during the masque, here imagined as a blessing, with a shower of gold. Iris and Ceres are thus symbolised without the need for a tiresome “faerie pageant”. Trinculo’s (David Clayton) Union Jack boxers and Stephano’s (James Altson) clipped Home Counties vowels gently hammer home the colonialist theme.

Some of the cast coped with the poetry of redacted text rather better than others. For me the standouts were James Altson and especially Micha Colombo herself. I seem to remember from reading her bio that she has devoted a fair amount of theatrical energy to the other side of the stage, in narration, voice-overs and corporate work , as well as with Lazarus. On the basis of this performance I am surprised she hasn’t landed some bigger roles. Her delivery of the lines is crisp with perfect rhythm and, assuming this is the Prospero that the director imagined, her performance was perfectly pitched. I wish I had an Aunty like this Prospero when I was younger. She would have made me a better person.

Next up (after a re-run of AMSND) is Salome. Suspect Mr Dukes will have some fun here. The blurb is promising “full male nudity, gun shots and scenes of a sexual and violent nature”. Surprise, surprise.

The Tempest at the Barbican review ****

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The Tempest

Barbican Theatre, 27th July 2017

Now I would watch Simon Russell Beale read the telephone directory. Particular past favourites of mine include a Brechtian Galileo, a Face in the Alchemist, alongside Alex Jennings and Lesley Manville, his Stalin in Collaborators, a Timon in the Hytner production, which persuaded me this is a greatish play, and his persuasive Lear. So his return to the RSC after a couple of decades was always going to be an event, particularly in the role of everybody’s favourite grumpy polymath/magician Prospero. The Tempest is not my favourite Shakespeare though I thoroughly enjoyed the all female Phyllida Lloyd Donmar production so maybe I am slowly coming round.

Anyway this production directed by Gregory Doran had secured very good if not outstanding reviews from its Stratford run so, one way or another, it had to be seen, Initially I plumped for the cinema option figuring this might prove a better way to soak in the technology on show. However, after a mix up with tickets and me throwing a tantrum (don’t ask), I missed out. So off to the Barbican it was.

Much has been made of the digital technology conjured up by Intel and Imaginarium Studios which has been used to conjure a real-time, holographic avatar of the Ariel played by a physically graceful Mark Quartley. Well there is no doubt this is an impressive spectacle, especially when combined with the striking designs of Simon Brimson Lewis, a set with a shipwrecked hulk with overtones of whale skeleton, and the dramatic lighting of Simon Spencer. And by and large it augments rather than supplants the words of the Bard notably around the storms, imagined drownings and some very dangerous dogs. In particular the masque created for the marriage of Ferdinand (an earnest Daniel Easton) and Miranda (a surprisingly worldly Jenny Rainsford) was spell binding with some beautiful singing from Samantha Hay, Jennifer Witton and Elly Condron and landscape projections which out-garished Hockney.

But the Tempest for me is a play of subtle shifts and meanings and sometimes all the gubbins on show (including the loudish soundscape conjured up by Jeremy Dunn and Andrew Franks) did just detract a little from the magic Shakespeare conjured up through, er, the magic of words. Once you cut out the comedy interludes supplied by Caliban, Trinculo and Stephano (with Joe Dixon, Simon Trinder and James Hayes respectively suitably broad) and the perfidy of the human aristos, you are left with tales of love and forgiveness (father-daughter, Miranda/Ferdinand, Prospero and pretty much everyone else on the Island). For these lessons to, er, work their magic sometimes needs a bit of peace and quiet. Which is why the last 10 minutes or so of this production, largely SRB speaking the verse in a pool of light, turned out to be the most satisfying, and moving.

A fine addition then to the panoply of big name Tempests and well worth a view (there are plenty of tickets left for the remaining performances). But also a reminder that, at the end of it all, it s the text that matters.