Julius Caesar at the Barbican Theatre review ****


Julius Caesar

Royal Shakespeare Company, Barbican Theatre, 11th January 2018

The third instalment, (for me), of the RSC “Rome” season at the Barbican which originally aired at Stratford. And, as is so often the case with this idiotic blog, it is about to end and is sold out anyway. Et tu numbnut.

Now JC (1599) was written a fair few years before its sequel, Antony and Cleopatra (1606), but both draw heavily on Plutarch, (via Sir Thomas North’s translation), for the guts of the story. Yet they could not be more different in tone. JC is austere in its construction of architecture and language, dripping with rhetoric. A&C is loose-limbed and florid as we watch the saucy couple get it on, often funny, and certainly over the top. All will be revealed when I see A&C as the last part of the RSC quartet shortly. (I note this attracted the most glowing reviews of the four).

I have to say that, generally, JC is my favourite of the two. Here we have four chaps, (unfortunately this is a terrible play for female roles even if the sensible trend to cast Cassius as a woman is followed, though it is not here), whose actions and relationships can be interpreted in an infinite variety of shades. In this production we have an unyieldingly peremptory Julius Caesar courtesy of Andrew Woodall, (nailing all that third person humblebragging), an overly smug and somewhat vain Brutus from Alex Waldmann, a Mark Antony who is more devious than he at first appears from James Corrigan and a vituperative, beguiling Cassius from Martin Hutson. I have to say this latter performance brought out facets of Cassius that I had not observed before, and, as with his Saturninus in the RSC Titus Andronicus, Mr Hutson near stole the show. Alex Waldmann is the go-too if you want a character “plagued by doubts”, (last seen by me as a brilliant Henry VI in the Rose Kingston’s War of the Roses), but the way Martin Hutson works off of his uncertain Brutus is just mesmerising.

Will S’s brilliant innovation in JC is to telescope all of the action up to the big man’s brutal knifing by the conspirators into what seems like just a couple of days. This means the reasons for the conspiracy, to take down Caesar who has got way too high and mighty in an echo of the Roman kings of pre-Republic days, come flying out of the blocks thick and fast. This resolutely includes the personal as well as the political.

Angus Jackson’s direction allows the momentum to build whilst still clearly laying the arguments around the use and abuse of power, the morality of rebellion against oppression and the legitimacy of political assassination. It is not what Caesar has done, but what he might do. On whose behalf are the conspirators acting, the people or themselves and their own class? The hoi-polloi is never happier than when they have a “strong” leader remember. The uncertainty around what would happen after QE1 died, in the context of the struggle between Protestant and Catholic, would have been clear to Will S’s contemporary audience. The impact of uncertainty is just as clear now.

But big Will didn’t stop there. Oh no. The carnage “unleashed” in the aftermath of JC’s death as Mark A and Octavius put the plotters to the sword, whose own resolve is shattered, is just as effective and thought-provoking. That is the problem with regime change. It usually goes t*ts up because none of these blokes thinks about what happens next. All summed up in two minutes with the horrific murder of Cinna by the confused mob.

Because we never learn Will S can keep on teaching us. Clever huh.

And, in this production, with complete clarity in the delivery of the lines, it was very easy to see that the main players were as much victims, as shapers, of events. The conspirators were uncertain, their tone and movement revealing the dissension between them. Caesar has got all imperious in part because no-one stopped him. Mark A’s sycophancy reflected an eye to the main chance: his famous rhetorical speech to the crowd, cynical, a man realising he could seize control. Watch him build up, then tear up, Caesar’s will. Cassius egging on Brutus, not prepared to take the lead. Brutus and Cassius falling out big time in the tent but always knowing they had to make up since they only, ultimately, had each other. Kidding themselves they really were “honourable” even to the end by getting some poor sap to administer the “coup de grace”. Honour in our appallingly individualistic society may look like an anachronistic concept, but the effect on the audience of its study in this play suggests it still has a place in our hearts and minds.

No need for modern dress. Togas are fine. Would sir like Doric or Corinthian columns. No need for video of an orange Donny spouting hate or rioting millenials. No need to ham up the famous lines or cut out Will’s words. Frankly no need for an interval if it were my choice. One of the best ways to see and hear JC is still Mankiewicz’s 1953 film with Gielgud. Mason and Brando. Not to be confused with Stuart Burge’s 1970 film with Gielgud effortlessly shifting from Cassius to Caesar, but with execrable performances from Charlton Heston as MA and, worse still, Jason Robards as Brutus who appears to have wandered out of an old folks’ home.

Now I am not saying that JC cannot benefit from a little bit of tidying up and reshaping. I think Phyllida Lloyd’s all-female outing at the Donmar was the best of her trilogy last year, (and was a top ten production for me), and Hans Kesting’s speech to the crowd in Toneelgroep Amsterdam’s Roman Tragedies might just be the best 10 minutes of theatre I have ever seen. It’s just that the play can be as, if not more, powerful as a whole, without needing the full directorial vajazzle. I see that many of the proper reviews felt this production was all a bit old-skool, declamatory. I disagree. It is about the power of language to change the direction of political action. Praxis if you will. So emphasising that language should not be seen as embarrassing.

The good news is that we have another chance to see JC in the very near future, (from 20th Jan), as Nick Hytner and team at the Bridge Theatre have a crack. With Ben Wishaw as Brutus, Michelle Fairley as Cassius, David Morrissey as Mark Antony and David Calder as Caesar. How about that for casting. Can’t wait.




After the Rehearsal at the Barbican Theatre review ***


After the Rehearsal

Barbican Theatre, 28th September 2017

So what was this going to be? Another flawed, portentous (pretentious?), langourous stroll through a story which might better have been left in its original format, like Obsession here at the Barbican earlier this year in the Toneelgroep Amsterdam Residency? Or a searing, metaphysical psychodrama in the manner of A View from the Bridge? You never quite know what you are going to get from wunderkind director Ivo van Hove although in this case, given the production of After the Rehearsal and its sister play Persona, are already staples of TA’s performance repertoire, it was possible to get a pretty good idea in advance.

Now I have to confess I was not at my best on the night of this performance and probably should have stayed tucked up in bed with my fading man-flu. The draw of the theatre once again proved too strong (the addict always craves stuff like this – the theatrical equivalent of absinthe) so I made a deal with myself: watch After the Rehearsal and then duck out unless you are absolutely riveted. Well I fear I was insufficiently riveted. On the other hand there was more than enough to chew on in After the Rehearsal and, as I have come to expect from TA’s finest, the performances were marvellous.

After the Rehearsal and Persona are based on Ingmar Bergman films, the former made for TB in 1984 and the latter for the cinema in 1966 (when he had refined his technique to the bare minimum). Unsurprisingly, Bergman is one of Ivo van Hove favourite artists. A version of Scenes From A Marriage has been in the TA repertoire since 2004, Cries and Whispers since 2008 and this double bill since 2012. Mind you Bergman’s influence on European theatre (I mean them not us) has been pretty profound. His own productions were apparently as famous for how they looked as the stories they told. Bergman himself worshipped August Strindberg. Both reach deep into Swedish identity. 

In After the Rehearsal, director Hendrick Vogler (I assume Bergman himself) and young actress Anna are discussing their production of Strindberg’s A Dream Play where Anna is playing the godly Agnes. The conversation expands beyond the play taking in their views on life and the lies they tell. Vogler tries to manipulate Anna. She responds. It turns out Vogler had an affair with Anna’s mother Rachel, also an actress, and she appears in on stage (though in his mind). She is broken by drink and depression but still pulls him to pieces. When she leaves Vogler and Anna imagine a future together: is this real or constructed1?

Now as ever with Bergman there are times when you feel like it would have been a good idea for someone to put their arm around him and tell him not to worry, it might never happen. But “it” does  happen and his exploration of what goes on in our heads and how this sets the narratives we create for ourselves and how the passage of time affects our identities is as penetrating as it gets. This in turns links back to the nature of theatre. Are we always acting? What are our real selves? Who are we trying to impress? Why do we lie to ourselves and others?

The Dutch text is taut and, as in other TA productions, the act of having to read the sur-titles means the words seem to penetrate deeper. Given the fact that not much actually happens (that isn’t the point) there is an awful lot of movement on the stage and lighting, props, music and sound all inject life into the “action”. Gijs Scholten van Aschat as Vogler, (who was a brilliant Coriolanus in Roman Tragedies though looked a bit lost as Joseph in Obsession), is again a colossal, brooding presence on stage. Gaite Jansen, who is a relative newcomer to TA, presents a calculating Anna. Best of all though was Marieke Heebink as Rachel whose desperation convulsed through her entire body. I still remember her fearsomely sexual Charmian alongside Chris Nietvelt’s haughtily needy Cleopatra in Roman Tragedies.

So why wasn’t I more taken with this play. I think, once again as with Obsession (Obsession at the Barbican Theatre review ***), that the obstacle that I can’t quite get over lies in the transfer of film to stage. Bergman is full of close-ups. The Barbican stage is not. As Vogler says in this play ultimately theatre is text, actors and audience. If plot takes a back seat then character needs to come to the fore, and in a text like this I need to see right inside their heads. And I couldn’t.

Still Mr van Hove’s productions can never be ignored. Next up Network at the NT.


Obsession at the Barbican Theatre review ***



Barbican Theatre, 13th May 2017

In retrospect there were warning signs.

This was an adaptation of Luchino Visconti’s 1943 debut film, Obssessione, itself based on a book by James M. Cain, the Postman Always Rings Twice, which in turn was later made into an American film in 1946 (Lana Turner, John Garfield) and 1981 (Jack Nicholson, Jessica Lange with a David Mamet screenplay). There have apparently been 4 other film adataptions, another play and even an opera based on the book. I had seen both US films and Obssessione but I confess my memory of plot and character was more skewed to both of the US films and not Visconti’s “neo-realist’ masterpiece.

So, on this basis, and given the provenance of director and cast here, I got quite excited, so I strong-armed, in so far as that is possible with people of such admirably independent will, the SO and the Blonde Bombshells into coming with me to this performance. In doing so I broke my own golden rule – if a play is an adaptation of a novel or a film, or both, be careful to evaluate the source material before signing up. There have been plenty of recent marvellous adaptations for theatre but, if a play is not written expressly for the theatre then, in my view, the audience is at potentially greater risk of disappointment if the vision of the creative team falls short. A book has description (objective and subjective) and the reader’s imaginations to fill the gaps and film has the ever moving eye of the camera to direct the viewer. A play though needs the text, the things the characters say, to do the heavy lifting. When it works for me at least theatre trumps (see even this word still has some utility) any other artistic form and especially film.

Our director here, the mercurial Ivo van Hove, has a recognisable aesthetic and has used Visconti films as his inspiration before. The story here, on the one hand, is simple, but effective and timeless. A drifter finds himself at a restaurant, falls passionately in love with the trapped wife of her older husband who owns it, and they jointly resolve to do him in. The damaging consequences of this act are then cleverly explored. But Visconti was creating his film against the backdrop of censorship in Fascist Italy and looked to explore issues of agency, power, class, gender and sex in relationship to this backdrop. He also introduced another character, (here named Johnny), to contrast domesticity and control with freedom, both individual and political. There are a lot of lingering long and medium shots of rural Italian landscapes and interiors. The characters don’t say too much. There are dramatic devices (cats, the sound of the sea, guns, car crashes and so on) to heighten the whole confection.

So easy enough to see why Mr van Hove wanted to bring this into the theatre. The problems once again lie in the how he and his key collaborators, designer Jan Versweveld and scriptwriter Simon Stephens, choose to do this, and also, it pains me to say, who they cast to do it. This team is not one for fussy sets. Whilst not as minimalist as their A View from the Bridge or Crucible, there was not much to see, just the bare necessities to symbolise kitchen, bathroom/tap, car and jukebox, with some video close-ups, some video waves, Italian opera, Springsteen, Waits and Iggy on the soundtrack and a few props. Again this is not, of itself, a problem but when combined with a very sparse text, the deliberate eliding of time-frames and the giant Barbican stage, left the production feeling too one-paced and distant for me. In the Visconti film the camera is conveying information even when the characters are not; here we were not afforded that visual insight.

Now as I say I should have been cognisant of the risk. Mr van Hove does ask a lot of his audiences. By stripping back what you see to the bare essentials you are forced to focus on what the characters are saying and doing. When the text comes from the pen of Arthur Miller or Henrik Ibsen (with a bit of polishing up by another playwright in Patrick Marber for the NT Hedda Gabler) then the source material is so rich this can work splendidly. Or, when you have the riches of Shakespeare to play with, you can make it work even after taking a hefty scalpel to the source and translating it. Or indeed when Simon Stephens writes an original play, Songs From far Away for Mr van Hove to get his mitts on.

But if you have less to play with as here, and you are wedded to the notion of bringing this very cinematic film to theatrical life, then it can fall short. What I think we saw, and not just us judging by the reviews, was not, I think, what the creative team saw, in part because they were so immersed in what they were trying to create. And at times I fear it did come disturbingly close to self parody (witness the treadmill and profligate bin emptying).

Which brings me to the third issue. I can’t put my finger on it but when I have seen the Dutch members of the cast in the Toneelgroep Amsterdam Shakespeare extravanganzas Kings of War or the Roman Tragedies, they were awesome, as in their performances inspired awe. Here, Gijs Scolten van Aschat and Halina Reijn just seemed more muted. And I had expected so much more of Jude Law playing Gino. He just didn’t look comfortable as a man of passion or of self doubt. It was nowhere near as disappointing as Juliette Binoche in Mr van Hove’s Antigone here in 2015. She was just out of her depth. Mind you that Antigone production also shows that if the words aren’t right (poet Anne Carson’s translation was all over the place) then the minimalist aesthetic cannot deliver.

So all in all a notable let-down. However, despite the elongation of tone and dearth of pace it wasn’t actually dull and there was stuff to chew on. It’s just that I had no opportunity for emotional engagement.

Yet I will not give up on Mr van Hove and his TA team. When it works it cannot be bettered. I just have to be more careful to think about the source. Next year, as an example, they are letting Robert Icke, our own British wunderkind director (Hamlet, Oresteia, 1984), loose on Oedipus. Yes that’s right Sophocles’s tale of f*cking it up big time with Hans Kesting in the lead. Blimey. That cannot possibly fail right?

P.S. I must also work out what this dramaturgy thing is all about as it is now dawning on me that it matters.


Roman Tragedies at the Barbican review *****


Roman Tragedies

Barbican Theatre, 19th March 2017

Right that fella in the pic above is Hans Kesting. And for my money he is the best stage actor in the world (though to be fair the fact that I have only seen a small sub-set  of the total universe of stage actors may lead you to suspect some exaggeration here). Yet I don’t understand a word he says (well maybe one or two). And I have only seen him twice. But I stick by this.

His Richard III in Toneelgroep Amsterdam’s Kings of War last year was mesmerising. His powerful frame crammed into a tiny suit with a birthmark on his face (all that was required to conjure up disability and difference), and using a mirror to expose his soul (did I really just write that) and lay bare his self-hate, he nailed it in my book.

And if anything in this production his Mark Antony was even more powerful. His funeral oration in response to Brutus’s justification was riveting as he prowled around the stage sometimes leaving the microphone and tearing at his tie – frankly I would have done whatever he asked if he were a leader of men in the real world even as I knew he was lying through his teeth. And he wasn’t alone. Eelco Smits as Brutus constantly probing his own conscience, Bart Siegers breaking down outside the auditorium as Enobarbus, Chris Nietvelt’s skin crawlingly needy Cleopatra, Gijs Scholten van Aschat as Coriolanus throwing the ultimate power tantrum. There were many others. The whole ensemble is just extraordinary having worked together under wunderkind director van Hove for many years. The last hour or so of A and C was perfect theatre – they must all know exactly what they are doing but it just felt so utterly and aggressively spontaneous.

The thing is by translating Shakespeare into Dutch and then back into English through the subtitles you can follow all the action whilst still retaining most of the poetry. By hacking all the war scenes out and focussing solely on the rulers and not on the ruled that they generally disdain, the real motives behind the exercise of political power are exposed. Ego, prejudice, love. ignorance, jealously are all laid bare with cool heads and analysis in short supply. By setting the action in a conference centre cum news room (so everything is “on”and visible), and in modern dress, the timeless nature of the exercise of power is exposed. And by allowing the audience to shift around at will, all this can be seen through multiple viewpoints (which you choose) and with us, the observers, becoming the observed/the ruled. The parallels with the populism in the world today effortlessly emerge (as no doubt they did in Shakespeare’s day – the experts can tell you more).

And it is anything but a marathon. Watching episode after episode of the Wire or Breaking Bad or that Game of Thrones cartoon is a bloody marathon yet millions of people do it. This is a breeze by comparison and you can even eat you sarnies and sit on a sofa.

Anyway hopefully you get the picture and can see why the punters and luvvies rave about this.

Of course it isn’t much good telling you this now that this is over but Toneelgroep Amsterdam stays at the Barbican for Obsession with Jude Law as the lead Gino in an adaption of the Visconti film and then the ensemble will bring their take on a couple of Bergman films. And they will I am sure be back again next year and they have the collaborations with Simon Stone and Katie Mitchell on their home turf. Maybe not the same as these genius Shakespeare mash-ups but whatever comes will be mandatory viewing anyway. Just look on their website at what they haven’t brought to London yet from the back catalogue and salivate.

Korn maar op!