The Taming of the Shrew and Twelfth Night - Propeller Theatre Company

If you’re one of those people who think a Shakespeare comedy isn’t funny, then you’ve clearly never seen one performed by the Propeller Theatre Company.

Recently I had the opportunity to see Propeller’s latest productions of The Taming of the Shrew and Twelfth Night at the Lowry Theatre in Salford and can honestly say that I can’t remember when I had enjoyed theatre so much. The energy and enthusiasm the cast invest into each scene had the audience in stitches from the opening scenes and held them captive until the end.

Propeller is an all-male theatre company formed back in the late 1990s under the direction of Ed Hall. They are renowned for the way in which they bring Shakespeare’s plays to life, offering a very modern take on such stalwart classics, making them both entertaining and enjoyable but also thought-provoking and comparable to society today. This year, their performances of Twelfth Night and The Taming of the Shrew proved no exception. The liveliness and fast-paced delivery of the lines directed to the other performers as well as the audience created an informal atmosphere which drew the audience into each scene.

 

Once you get used to the language style, it is easy to get caught up in the stories being played out before you. Because of Propeller’s modern approach to each play, you find it easy to relate to the situation and characters and can empathise with them.

 

This was particularly so in the case of the Taming of the Shrew. At the beginning you admired the feisty character of Kate (Katherine) whilst also sympathising with her father for having such an unruly and headstrong daughter. On the other hand you were drawn to his other daughter Bianca but soon realised that your ideas were about to be tested. As the play progresses, you can see how much is made of Bianca’s beauty and that Kate’s boisterous behaviour is not admired but needs to be tamed. She is then subjected to cruelty and humiliation until she yields to the commands of her husband and becomes almost recognisable as the person we admired in the beginning. The transformation was at times comical but as you thought upon the situation more, you could see how Shakespeare and Propeller were challenging the concepts that beauty is to be admired and wild behaviour and out-spoken characters controlled. They also examine the theme of marrying for love and marrying for money and how sometimes the difference between the two is a very fine line. The cast performed this brilliantly but I particularly enjoyed Vince Leigh and Dan Wheeler as Petruchio and Kate respectively.

In Twelfth Night we see the classic tale of mistaken identities, transformations and deception. It looks at the question of what happens when you fall in love with the wrong person and the answer is often comical and heart wrenching. Having a man play a girl who in the course of the play disguises herself as a boy is also humorous but draws many parallels with situations in society today with people often hiding their sexuality to be accepted by society.  The way that Propeller’s male actors portray the female characters is done so cleverly that like the language, once you get used to it, you often forget about the actor as you are so engaged with the character and the play itself - their speech and movement as well as their facial expressions are so true to the female nature. This production was side-splittingly funny at times but also had some very poignant moments and you felt each of these emotions with the main characters.

 

I would thoroughly recommend seeing Propeller for yourself, not only will it give you a deeper appreciation and understanding of Shakespeare’s work but will keep you entertained and amused for hours. Be warned though, once you have seen them once, you will want to see them again and again. These were the  5th & 6th productions I have seen by Propeller and I have thoroughly enjoyed every one.

Look out also for the cast performing during the intervals of the shows. This year they are raising money for Target Ovarian Cancer and invite donations to be made through their just giving page www.justgiving.com/Propeller13.


For more details of Propeller’s current productions and tour dates see http://propeller.org.uk/current-productions

Review - Henry V (Propeller Theatre)

If the thought of going to see a play by William Shakespeare fills you with the same amount of excitement as a visit to the dentist for root canal work, then you clearly haven’t seen it performed by Propeller Theatre Company.


Their all-male cast present Shakespeare in such a way, that each play is given an innovative and contemporary setting but without tainting the original text and its intricate and eloquent language. Never more so was this the case than in their current production of Henry V which is charged with machismo, emphasizing physical strength, aggression and courage – quite fitting when telling the tale of one of the greatest leaders and warriors in English history and at a time when there is much attention on our troops serving abroad in Afghanistan. The sight of so many men in uniform – all extremely physically fit following their military fitness training was also enough to appeal to all of the females in the audience too!

Henry V has proven to be very popular in the past with many great actors playing the title role including Sir Richard Burton, Sir Laurence Olivier and more recently Kenneth Branagh. With such acting giants as these previously playing the title role it might have been tempting to copy some of their qualities but Propeller, in their own inimitable style have produced a Henry V unlike any other. Not only do you get superb performances in the acting, but this cast also sing and play their own musical accompaniments - and move the scenery as they go!

The staging was cleverly done, making full use of every inch of the performance area and using several props repeatedly for different scenes. I particularly liked the use of large crate lids which became the ramps on the landing crafts – reminiscent of the beach landings in Normandy during World War 2. Several scenes were visually dramatic including the fight scenes when the stage was filled with smoke and flashing light but also in the more sombre scenes when just a torch or a flame lit the actors face. The music also played a huge part in this production whether performed on or off stage to compliment the many soliloquies. Written and arranged by cast members Gunnar Cauthery and Nicholas Asbury, the harmonies were exquisite and rousing which really helped to bring out the various emotions of the play. There were also occasions when the music helped to introduce some of the lighter hearted moments of the play and my only disappointment was that we didn't get a singing performance in the interval as had been done in previous years.

The whole ensemble worked brilliantly together, a true band of brothers from which you felt a great sense of camaraderie between them. Several members of the cast played more than one part which often required a quick change of costume (and character) in the wings but was achieved with a seamless ease. There were many standout performances including; John Dougall as the French King and Duke of York, Karl Davies as “the boy” and Princess Katherine - forming an amusing sort of double act with Chris Myles as lady in waiting Alice and Tony Bell as always adding some light hearted moments in his portrayal of Mistress Quickly and Fluellen (with a brilliant welsh accent)


Dugald Bruce-Lockhart added a new dimension to King Henry in that as well as being an inspiring leader and military hero, you also saw a softer more vulnerable side when seeking the approval of his men and when mourning the dead. His delivery of the famous St. Crispin’s day speech came across as heartfelt and sincere as well as  quietly inspiring. Whilst other actors in the past have tended almost to shout out this speech as if addressing the entire audience as their troop, Dugald addressed his “happy few” in a much more sombre and quieter tone which made it feel more personal as though addressing a friend or brother and yet also gave a sense of the nervous anticipation felt at the thought of the impending battle. He also showed a great variety of emotion when seeing “the boy” dead, his sadness turned to anger and then when hearing of the number dead  a softer, humbler side as he declared that God had fought with them that day. There was also an irresistible, boyish sort of charm about him as he set about wooing Katherine which made his character even more likeable and appealing.

Propeller knows how to push the boundaries without going too far and without detracting from the original text. If you’ve never had much time for the works of Shakespeare before, then seeing them perform will change your whole perception of them.

For more details of the Propeller Theatre Company and their current tour of Henry V and The Winter’s Tale go to http://propeller.org.uk/home

Review - The Winter's Tale (Propeller Theatre Group)

King Leontes seems to have it all; a son and heir (Mamillus) upon whom he dotes, a loving and adored Queen (Hermione) who is pregnant with their second child and a lifelong friend in King Polixenes. The beginning of the play is the” Happy Ever After” that so many stories conclude with except that in this instance, eternal happiness is short lived and the overall theme of the play is rather melancholic. King Leontes driven by some sort of mad jealousy begins to suspect his wife and friend of having an affair and his obsession with this sees him lose everything he once held dear; his son dies, his friend flees and his wife dies shortly after giving birth to their daughter. From this point, we watch how the characters rebuild their lives and how time plays a great part in the healing process.

Hermione’s daughter Perdita is abandoned in the wilds of Bohemia (by Antigonus who himself is killed by a bear) and is discovered by a kind Shepherd who raises her as his own daughter. Sixteen years pass and we see Perdita, now a young lady in love with Polixenes’ son Florizel. Polixenes on discovering his son’s romance with a shepherd’s daughter objects to their relationship and the pair flee to Sicilia - back to Perdita’s own country. Here we find that time has done much for Leontes who has repented of his earlier jealousies and is looking to make amends. Haunted by the memory of his son, who appears as a ghostly reminder in many scenes, he mourned the death of his wife and son every day and had ordered a statue to be erected in memory of Hermione. Eventually he is reunited with his daughter, her fiancée and his old friend Polixenes and upon visiting the memorial statue, discovers that his own wife Hermione did not die but had been hidden away for the last 16yrs. Their reunion is a happy one, but still we are reminded that not all ends well as we remember the death of Mamillus and Antigonus.

Ed Hall’s production of Shakespeare’s The Winter’s Tale was both touching and humorous and held the attention of the audience from start to finish. Even the weather outside seemed to pay a fitting tribute to the title of the piece. The staging whilst simplistic and minimal complimented the mood of each scene perfectly and the accompanying music cleverly arranged and superbly performed. The use of crystal glasses being played by the cast during the more sombre scenes added a very eerie but intensifying quality to them.

There were great performances from Robert Hands who portrayed Leontes’ downward spiral into despair and misery with such credibility and Richard Dempsey who gave Hermione gentle nobility and elegant dignity that you could not help but be drawn to their characters. Karl Davies provided some light hearted moments as the young and lovable shepherd but it was the incomparable Tony Bell who stole the show during these moments as the comical villain and con man Autolycus. His portrayal of Autolycus as a combination of Fagin and aging rock god as he stole from all the other characters had the audience in fits of laughter. Indeed it seemed that following on from last year’s performances, Tony was on a mission to have his character act even more outrageously than before – something which he accomplished with great ease and flair!

The whole ensemble is brilliantly cast and at times you forgot that the female roles where being played by men. The way the actors moved and gesticulated were so perfectly tuned you looked more at the character than the person portraying them.

Whilst the overall tone and theme of the play is rather melancholic, it is nonetheless entertaining and enjoyable. Propeller’s production of Shakespeare is both contemporary and traditional and appeals to and captivates its audience on many levels.

This is the third production by Propeller that I have seen and I have enjoyed each one for different reasons. Whilst The Winter’s Tale is not one of my favourite pieces by Shakespeare it was nevertheless compelling and entertaining and this production went a long way in improving my opinion of the play. I loved that the play contained a balance of comedy and tragedy as it emphasized the dichotomy of emotion in each scene and made it more captivating and enjoyable.

Propeller is currently on tour with The Winter’s Tale and Henry V. For more information on tour dates, http://propeller.org.uk/current-productions/henry-v-and-the-winters-tale/tour-details

Theatre Review – Richard III

While their performance of A Comedy of Errors will have you rolling in the aisles with laughter, you couldn’t find a more extreme opposite in this week’s performance of Richard III.

Once again the Propeller group pulled out all the stops to create an exceptionally thrilling production.

Richard III is one of Shakespeare’s darkest plays;  a sinister and evil story of the rise (and fall) to power of Richard III, who lies, cheats and murders his way to the throne, using anyone and everyone to help him reach his aim only to discard or dispatch them the minute he has succeeded. There’s certainly nothing to laugh about in this plotline and yet the brilliant performances from the cast, the ingenious set design and staging, together with the hauntingly beautiful vocal arrangements create a truly spine-tingling production. Even the temperature in the theatre seemed cooler adding a slight chill to the air and accentuating the overall tone of the production.

The costumes worked well on many levels too; the masks and butchers aprons worn by the cast created a sense of sinister anonymity and yet added to the clinical and unemotional way that Richard sees off his competition. At other times the cast were dressed completely in black (including those playing the roles of women) which added to the gravity and darkness of the play.

Richard Clothier’s Richard III was despicable in every sense of the word and yet you couldn’t help but be drawn to his character and even at times pity him. Looking like a Nazi war veteran, he was a cross between a spoilt, attention seeking child and a ruthless egotistical maniac. He held the audience captive with every line and gesture and his stage presence was undeniable – a truly brilliant performance.

The murders were all highly spectacular and very bloody which added to the macabre feel of the play. At times it was almost impossible to watch because they were so gruesome and horrible – and yet a morbid fascination draws you in to the play and it was one of those occasions when you know that what you’re seeing is wrong, but you still watch anyway.

It was a vast change in mood from the spectacularly funny Comedy of Errors but nonetheless brilliant in its own way. It also highlighted the versatility of the actors themselves showing that they can perform both comedy and tragedy with the same ease, passion and emotion. Both plays were equally thrilling and exciting for different reasons, but were performed and staged to the same high standard and would have made Shakespeare proud.

Propeller are touring the UK with this production and A Comedy of Errors until July 2011.For more details visit their website http://www.propeller.org.uk/home

Theatre Review - A Comedy of Errors

Two sets of twins both with the same names are separated during a shipwreck. 25 years on, their father Egeon, a merchant from Syracuse is arrested and sentenced to death for violating travel laws between Ephesus and Syracuse whilst looking for them. He tells the Ephesian Duke Solinus, of his search and is granted a 24hr reprieve to raise the thousand mark ransom necessary to save his life.

Meanwhile, also in Ephesus, one Antipholus and his slave Dromio are also searching for their twin counterparts. They are mistaken on many occasions for each other and in separating, encounter each other’s twin which in turn leads to further confusion. At times the plot gets so complicated with the different twists and turns that you feel the whole family could appear on an episode of Jerry Springer, but the humour that this provides is incomparable. Just like any good Shakespeare comedy, everything works out in the end, the mistaken identities are resolved, the twins are reunited with each other, their father and their mother and all live happily ever after.

This is Shakespeare comedy at its best; full of mistaken identities, wit, slapstick and energetic humour throughout.

There were two reasons that I had wanted to see this play. The first being that I am a great fan of Shakespeare’s work and this was a play that I had not yet seen. The second being, that I knew a member of the cast, Dominic Tighe from his former days with classical singing group Blake and I was keen not only  to see him but also eager to see the effect an all male cast would have on the production.

I was not disappointed in any way. The whole show was hilarious from start to finish and everything from the brilliant cast, the staging, costumes and of course the text contributed to the most side-splitting entertainment I had seen in a long time. The actors’ interactions with the audience also gave the play a more intimate and friendly feel which endeared you to the individual characters. It was high energy throughout, full of the wit and bawdy humour you would expect in an Elizabethan theatre but with a contemporary setting proving that Shakespeare is just as funny and popular today as he was so many years ago.

It was clearly a hit with the audience too as there were audible laughs, groans and noises of appreciation throughout. The Propeller theatre group really seem to have hit on the correct recipe for a successful show. The all-male cast does not detract your attention from the story at all and indeed they are performing it the way it would have been in Shakespeare’s day as female actors were not permitted in those days. I had not been familiar with their work before this but will definitely follow their productions in the future as I enjoyed this one so much.

I would thoroughly recommend this show, not just because of my association with it but because it is absolutely brilliant. It is impossible to sit through without laughing and proves beyond a doubt that laughter really is the best medicine.

If the show itself wasn't enough to delight, there was also the singing in the interval......

The Propeller theatre group are currently touring the UK (and parts of the USA) with A Comedy of Errors and Richard III - see below for listings and go and see them in your area. You will not be disappointed.

Tour Dates:

Tue 1 - Sat 5 February 2011

Theatre Royal, Newcastle

Box Office: 08448 11 21 21

Group Bookings: 08448 11 21 22

Tue 8 - Sat 12 February 2011

Coventry Belgrade

Box Office: 01332 555 666

Tue 15 - Sat 19 February 2011

Theatre Royal Norwich

Box Office: 01603 630000

Tue 22 - Sat 26 February 2011

King's Theatre Edinburgh

Box Office: 0131 529 6000

Group Bookings: 0131 529 6005

Tue 1 - Sat 5 March 2011

Everyman Theatre, Cheltenham

Box Office: 01242 572 573

Tue 8 - Sat 12 March 2011

The Lowry, Salford

Box Office: 08432 086000

W/C 28 March 2011

University Musical Society, The Power Center, Ann Arbor, Michigan

Box Office: 001 734 764 2538

Wed 13 - Sat 30 April 2011

Watermill Theatre, Newbury

Box Office: 01635 46044

Tue 3 - Sat 7 May 2011

Theatre Royal, Plymouth

Box Office: 01752 267 222

Group Bookings 01752 260 960

W/C 9 May 2011

Madrid Festival de Primevera,

Teatro del Canal

Box Office: 0034 900 022 625

Tickets on sale soon

W/C 16 May - W/C 13 June 2011

Huntington Theatre Company, B.U. Theatre, Boston

Box Office: 001 617 266 0800

Tickets on sale soon

W/C 11 July 2011

Neuss Festival

W/C 18 July 2011

Galway Festival