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

Julius Caesar - RSC

Late September, I had the opportunity to see not one, but two Shakespeare plays; Macbeth at the Crucible Theatre in Sheffield and Julius Caesar at The Alhambra Theatre in Bradford. Both were enjoyable in their own way, but my favourite by far was the RSC production of Julius Caesar, the on stage drama was gripping and the drama continued into the interval with a set malfunction adding to the intensity.

Set in Africa, the production was captivating from start to finish. I had initially wondered how it would translate to being set in Africa but have to admit it worked exceptionally well. The cast was made up from many well known actors who will have been familiar to many from their previous work in film and television and this had been part of the appeal for me to see the play. It was not a play I had studied or seen before so I made sure I read up on it before going to see it and was impressed by the reviews that I had seen.

The acting throughout was incredible, the famous soliloquies were exceptional and really captured the mood of the play. The entire cast gave outstanding performances but the real drama came from Paterson Joseph as Brutus and Ray Fearon as Mark Anthony.

The interval had a drama of its own when the safety curtain refused to raise at the end. The stage manager, theatre manager and RSC manager all came out to apologise for the delay which then turned into a cancellation. Everyone was offered a refund or the chance to see the evening performance. Someone asked if the cast might come out into the stalls area so that we could applaud their performances so far. In good nature they all came out and took bows and chatted to the audience at the front of the stalls. As they took their final bows, the safety curtain suddenly rose like a phoenix from the ashes and the RSC manager told a now delighted audience that the show would go on.

The second act seemed just as gripping and I was glad I hadn’t left early like so many others. Mark Anthony’s speech “Friends, Romans, Countrymen” was so powerful that he really brought the text to life. I wish I had seen productions like this when I studied Shakespeare at school as it really brought out the feeling and emotion of the piece.

At the end of the performance, the actors all came on stage to take their bows and applauded the audience for staying with them. It was a fantastic production and I dearly hope it gets released on DVD in the future.

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: Othello

Clarke Peters as Othello and Dominic West as Iago

Of all of Shakespeare’s plays, Othello has to be one of the darkest and most sinister but also one which shows the playwright’s incredible talent to mix his character’s motives and acts into one superb plot.

Othello, perhaps should be re-titled Iago since this character is perhaps the most prominent throughout the play and the plot is created around his jealousies, his motives and actions and how they bring about the demise and misery of so many of the other characters. The chief of these being Othello, a Moor and commander of the armed forces of Venice. Iago despises him not only for marrying Desdemona, a lady whom he had once sought favour with but also because Othello passed over him for promotion as his new lieutenant and instead chose a Florentine by the name of Michael Cassio. An embittered Iago having had his pride wounded twice, now seeks revenge and plans Othello’s downfall by any means using anyone at his disposal to help him in his quest. This is a story of prejudice, jealousy and lies and how one man’s overwhelming desire for revenge leads him to commit the ruthless and heinous acts that he does. The tragedy of the piece lies in the deaths of those who were deceived by the man they blindly trusted.

Dominc West as Iago and Clarke Peters as Othello. Photo by Geraint Lewis

It also raises the question of Othello’s character and whether he was an honourable yet tragic hero for putting his trust in his adviser or a vulnerable and tragic fool who unwittingly takes part in the murder of his wife. It is also however a story of love; the love between Othello and Desdemona, the love between Desdemona and Emilia and how their loves progress throughout the play. Love may be blinded in some instances but in the end I do believe that love conquers all – even if it was in death.

This latest production of Othello at Sheffield’s Crucible Theatre, features the brilliant talents of Dominic West as Iago and Clarke Peters as Othello and is supported by the superb Lily James, Gwilym Lee and Alexandra Gilbreath as Desdemona, Cassio and Emilia respectively. These central characters interact wonderfully with each other and I found myself totally engrossed in the plot and the development of each character. I enjoyed watching Othello start as the well respected commander in love with his new bride turn slowly into a mad and jealous husband who goes out of his mind in jealousy through the web of lies and insinuation spun by Iago. Desdemona was a sweet and beautiful breath of fresh air whose innocence, trust and love of other characters led to her ultimate death and indeed I found her death scene quite upsetting and disturbing. Emilia provided some light relief to an otherwise dark and sinister plot with her quick and witty lines and it was touching to see the love that she had for her mistress. Iago from the start declares himself to be the villain of the piece and Dominic West played him to perfection. There was something about his performance that drew you to his character and although you knew you should despise him for what he had done, you could not help but admire his shrewdness and cunning and wonder at the blindness of the other characters to his deceit.

Lily James as Desdemona, Dominic West as Iago and Clarke Peters as Othello. Photo by Johan Persson

I think this was perhaps the first time I have ever seen a Shakespeare play performed in traditional Elizabethan costume and I thought that this combined with the relatively unobtrusive set made for a great setting. This play is relatively long (almost 3 hours) and owing to the subject is quite draining but the excellent performances from the actors meant that you were totally engrossed in the plot and were on the edge of your seat waiting to see what happened next. Even if you were familiar with the story I think you would be upset by some scenes but it all made for great theatre and a performance I would recommend not just for entertainment and the great use of language but the questions it will raise afterwards which will be great topics for conversation and debate.


Othello is showing at the Crucible until Oct 15th 2011. For more information see:  http://www.sheffieldtheatres.co.uk/index.cfm?fuseaction=whatson.production&ProductionID=1152 or contact the box office for the few remaining tickets available 0114 249 6000 

Review :The Winter's Tale

Having enjoyed seeing Richard III and A Comedy of Errors performed by the all male cast that make up The Propeller Theatre Group; I was eagerly anticipating their forthcoming season featuring Henry V and The Winter’s Tale. However, a chance opportunity to see The Winter’s Tale performed earlier last month on a midsummer night, by The Stamford Shakespeare Company, in the beautiful grounds of Tolethorpe Hall was an opportunity not to be missed.

Tolethorpe Hall was acquired by the company in 1977 and they performed their first production of Hamlet in the same year. The grounds boast a natural amphitheatre which has since been converted into a canopy covered auditorium but still has the benefits of an outdoor theatre. It is ideally situated in the grounds allowing visitors to picnic before the performances, or indeed enjoy a cooked meal inside the hall. The fact that the theatre is outdoors means that performances can use the natural surroundings (and lighting) as part of the staging and the canopy covering means that whatever the weather, the show will go on.

This was the first time I had seen The Winter’s Tale and although I had read a synopsis of the play before hand it wasn’t one I was terribly familiar with...the only quote I could think of from it was the stage direction “Exit pursued by a bear”. Nevertheless my love of Shakespeare took over and I watched eagerly as each scene unfolded. The open air aspect of the theatre really added to the magic and intimacy of the performance and despite the rain gave it a very realistic setting.

For those of you unfamiliar with the play, The Winter’s Tale is one of Shakespeare’s later plays and whilst originally classed as one of the comedies, some have re-categorised it as a romance whilst other critics consider it to be one of the problem plays because of the mixture of intense drama in the first three acts combined with the comedy and happy ending of the final two acts.

The Winter’s Tale tells the story of King Leontes of Sicilia and his childhood friend, King Polixenes of Bohemia. Polixenes has been staying with Leontes as his guest in Sicilia but after 9 months decides to return home. Leontes tries desperately to persuade him to stay but to little effect. He then encourages his wife, Queen Hermione to persuade him. She is successful in carrying out his request but Leontes, puzzled by how easily Hermione persuades Polixenes to stay when he had failed, becomes consumed with jealousy. He believes that Polixenes and Hermione are having an affair and that the child she is carrying is not his but Polixenes. He orders Camillo to poison Polixenes but instead the two of them escape and flee to Bohemia. Hermione is arrested and gives birth prematurely to her daughter whilst in jail. Leontes considers killing the child but instead orders Antigonus to abandon it elsewhere. At her trial Hermione’s innocence is declared by the Oracle who also predicts the death of Leontes son if he doesn’t believe Hermione. Leontes defies the Oracle and then hears news that his son has died. Hermione faints and is reported to be dead. Leontes then promises to mourn his dead wife and son every day for the rest of his life. Meanwhile Antigonus has carried out Leontes’ wishes and abandoned his daughter, Perdita in Bohemia; he is pursued and killed by a bear. Perdita is found with a large sum of money by a shepherd and his son and is taken home raised as one of their family.

Sixteen years pass and in Bohemia, Polixenes and Camillo become aware that Florizel (Polixenes' son) is in love with a shepherdess. In disguise, they attend a sheep-shearing festival and confirm that the young Prince Florizel plans to marry a shepherd's beautiful young daughter (Perdita, who knows nothing of her royal heritage). Polixenes objects to the marriage and threatens the young couple. Eventually, with a bit of help from the comical rogue Autolycus, Perdita's heritage is revealed and she is reunited with her father Leontes. The kings are also reconciled and both approve of Florizel and Perdita's marriage. They all go to visit a statue of Hermione kept by Paulina. Miraculously, the statue comes to life and speaks, appearing to be the real Hermione, who went into hiding to await the fulfilment of the oracle's prophecy and be reunited with her daughter.

Although the Stamford Shakespeare Company is an amateur company, there were many parts I thought were performed to a professional standard. The dancing, choreography and costumes were all excellent and whilst some performances from the cast were slightly underwhelming, it was on the whole a very enjoyable show. I liked the fact that unlike other amateur performances I have seen, the actors were cast in age appropriate roles thereby adding to the credibility of each character and their relationship to each other. There were excellent performances from both actors playing the Kings and the young actors playing Florizel and Perdita also were worthy of a mention.

I did enjoy both the production and the visit to Tolethorpe Hall and hope to return again next season to see further productions. It is a truly beautiful and picturesque setting and is also steeped in history as I found from notes on The Stamford Shakespeare Company Website....
 “Tolethorpe was the birthplace, circa 1555, of Robert Browne who became the leading and most active campaigner for the Separatist movement seeking a separate church from the Church of England at the time of Queen Elizabeth I. Also known as the Brownists, Shakespeare referred to the movement in a line in "Twelfth Night" of Sir Andrew Aguecheeck: "I would as lief be a Brownist as a politician".
It was Browne's followers, mainly from Lincolnshire and East Nottinghamshire, who sailed on the Mayflower in 1620 to become the Pilgrim Fathers of America. Their first harvest is commemorated on Thanksgiving Day. Browne could be said to be the Father of the Pilgrim Fathers linking his home, Tolethorpe Hall, with the birth of America. Descendents of the Browne family of Tolethorpe were among the pioneers of the early days of America, especially in Baltimore, Maryland, and Watertown, near Boston, Massachusetts. The names of two of them, Richard and Abraham, Puritans who arrived with Wintrop's fleet in 1630,are recorded on the monument to the pioneers at Watertown. Browne's son, Edward, was one of Lord Baltimore's gentlemen who surveyed Baltimore and the State of Maryland.
The oldest house in America, preserved and open to the public was built in 1698 at Watertown by Abraham Browne, the grandson of the early pioneer, mentioned above. The first shot in the American Revolution which drew British blood was fired by Solomon Browne on Lexington Green in 1775.
The last member of the Browne family to live at Tolethorpe Hall was Countess Mary Pomfret who, died childless in 1839. It was the end of 300 years of the Browne dynasty at Tolethorpe. “


For more information on the Stamford Shakespeare Company and their forthcoming productions, please see http://www.stamfordshakespeare.co.uk/default.asp

Review - The Merchant of Venice

The RSC ‘s latest production of the Merchant of Venice directed by Rupert Goold and starring Sir Patrick Stewart is a production that has to be seen to be believed!

I have always thought that Shakespeare’s plays can transcend any era and thereby appeal to audiences of any age. However, this production takes this idea to a new level by setting the play not in Italy but in Las Vegas - complete with its own casino and hip shaking, singing Elvis! The question of who will marry Portia is still decided through the choosing between the gold, silver and lead caskets but this has been modernised into a cross between a weekly game show and a reality TV show called Destiny as each suitor by choosing a casket, chooses their destiny. I have seen many Shakespeare productions given a more modern setting but the idea of this staging seemed quite outlandish – and yet, it worked! Not only did it work, but it worked so brilliantly that you were left in awe at how well it transposed to this setting.

Portia , under the terms of her late Father’s will is obliged to marry the suitor who chooses from amongst the caskets of gold, silver and lead and finds the one containing her portrait. The young Venetian Bassanio is determined to woo and marry Portia and so to improve his chances, asks his good friend Antonio a rich merchant to lend him the money ($3 million) to fund his voyage and improve his status. Currently short of available cash owing to his ships being at sea, Antonio borrows the money from Shylock, a Jewish money lender, who charges extortionate rates of interest and who Antonio has previously insulted. Shylock proposes as terms of the loan that instead of interest, if Antonio refuses to pay back the money in the time specified, he will be entitled to a pound of Antonio’s flesh. Meanwhile, Bassanio’s friend Lorenzo elopes with Shylock’s daughter Jessica who brings with her money and jewels stolen from her father. Distraught at the loss of his daughter, but more importantly his money, Shylock seizes on the news that Antonio’s ships have been lost and sea and demands his pound of flesh...

The play has everything you would expect from Shakespeare, comedy, tragedy, mistaken identity and above all some excellent soliloquies. Patrick Stewart delivered his infamous speech “Hath not a Jew eyes...”with such brilliance that he captured the attention of the entire audience. The speech by Portia disguised as the attorney sent to judge the case of Antonio V Shylock, ”The quality of mercy is not strained...” was also beautifully delivered and added a poignancy to the scene. It was also interesting to see how many phrases we use in modern day language seem to have emanated from this play; in the twinkling of an eye, cut-throat, blinking idiot and all that glisters is not gold. The fact that these words are still used today combined with the modern setting of the play made it seem more natural and definitely more accessible. Anyone who had ever thought Shakespeare boring and irrelevant to our time would be forced to think again after seeing this production.

Patrick Stewart who as you might expect from an actor of his reputation and calibre gave a powerful performance but didn’t dominate the whole production as he blended well with the other actors in the ensemble. Susannah Fielding is also worthy of a mention as the dizzy blonde Southern belle Portia who then transforms into the learned, eloquent young lawyer sent to try the case of Antonio and Shylock. There were many other fine performances from the cast and I enjoyed how they used different American accents to portray the various characters and make them more individual and idiosyncratic.

Emily Plumtree as Nerissa,Susannah Fielding as Portia & Patrick Stewart as Shylock

The production was a delight to watch from start to finish and quickly dismissed any previous misconceptions I had about the play at the start. If you are able to catch a performance before the run ends in September then I highly recommend it as I couldn’t praise it enough.

For more information on this and other RSC productions, go to www.rsc.org.uk and follow the RSC on Twitter http://twitter.com/#!/thersc

Review - Much Ado About Nothing

“Sigh not so, but let them go and be you blithe and bonny. Converting all your songs of woe, into hey nonny nonny!”

There has been great excitement ever since the announcement was made that David Tennant and Catherine Tate were set to play two of the principle characters in Shakespeare’s much loved comedy Much Ado About Nothing.  Now, currently showing in the West End, this show is playing to sell out audiences daily and judging by the reviews, the hype was well deserved and definitely not as the title of the play suggests, a fuss about nothing.

As this is by far my favourite Shakespeare play, I was determined to see for myself not only how well these two actors would portray their respective roles but how well this production would compare to the one starring Emma Thompson and Kenneth Branagh (film).

For anyone unfamiliar with the plot, it is perhaps one of the easiest plays to follow. The Prince, Don Pedro, recently reunited with his illegitimate brother Don John, returns from battle to Messina and is a guest at the house of his friend Leonato. One of Don Pedro’s company, Claudio is in love with Leonato’s daughter Hero and the prince agrees to help Claudio to win her hand. Don John, still embittered with his brother despite their recent reconciliation determines to ruin the plan and so convinces both Don Pedro and Claudio that Hero is not a virtuous woman. Claudio denounces Hero on their wedding day and refuses to marry her. Meanwhile Benedick, another of Don Pedro’s company continues his battle of wit and words with his old sparring partner Beatrice, the niece of Leonato. Unbeknownst to them, Don Pedro also plans to bring these two seemingly ill-matched people together – a Herculean labour indeed considering their past history towards one another. But, just like in any romantic comedy, all works out well in the end and we celebrate the wedding of not one, but two happy couples.

The attraction of this play for me is in the writing. It is full of clever witticisms, remarks and put downs that even put in a 20th century setting seem equally as funny and offensive as they would have done back in Shakespearean times.“ I would rather hear my dog bark at a crow than a man swear he loved me!” or “Had he been a dog that would have howled thus, they would have hanged him!”

The play has everything you could want from it; a brilliant plot, great speeches and dialogue, your romantic couple, your villain – Don John, your fools - the constable and the guard duty, mistaken identity and of course a happy ending. Add to this the modern interpretation from this production, the music and dance routines and you have a play that entertains from start to finish!

David Tennant played an outstanding Benedick and owned the stage from the moment he drove onto it in his golf buggy. The delivery of his lines together with his expressions really captured the essence of his character and you were totally captivated by him every time he was on stage. He had great chemistry with the other cast members too particularly with Catherine Tate who played his nemesis / love interest Beatrice. Watching David play the role of Benedick it was as if the role had been written specifically with him in mind – he played to every emotion of the character, engaging with the audience and his fellow cast with even the slightest glance or gesture. He was fascinating to watch throughout the entire play.

Catherine Tate as previously mentioned played the role of Beatrice, and apart from a few occasions when I thought she sounded like some of her other characters from TV, portrayed the character wonderfully well . Not only did we see the feisty side of Beatrice, but in this production and through Catherine’s interpretation of the character, we see a more vulnerable, emotional and loving side.

There were also some strong performances from many of the supporting cast and I particularly enjoyed that of John Ramm as Dogberry whose most infamous line “Do not forget to specify masters when time and place shall serve, that I am an Ass!” had the audience in stitches. Also worthy of a mention were Sarah Macrae and Tom Bateman who played Hero and Claudio respectively  and who in making their West End and indeed professional debut in Tom’s case both gave outstanding performances and will definitely be ones to look out for in the future.

The entire production was from start to finish a breath of fresh air. There were many occasions when the audience literally erupted in laughter and the actors would have to time their lines well to allow for the audience to stop before they delivered their next dialogue. The music was cleverly arranged to include a few bars of well known songs from the 80’s set to the text of the play and this complimented the setting of the play. It was a joy to watch and the time certainly did not go “dully by us”. The enjoyment of both cast and audience was clear to see at the end as the delighted audience gave a full standing ovation to an appreciative cast.

Much Ado About Nothing is showing now at Wyndhams Theatre. For more information and to book tickets http://www.delfontmackintosh.co.uk/Tickets/MuchAdoAboutNothing.php

The Wedding, The Birthday and an extra Bank Holiday

Everyone loves a good party and this past weekend in the UK, we have had more than one excuse to celebrate; A Royal Wedding, A Playwrite's Birthday and an extra Bank Holiday - and boy did we ever party!

As billions of people around the world tuned in to watch Prince William marry Kate Middleton, millions also took to the streets in London to see the Royal Procession and to take part in all the celebrations. In some places, special licences were obtained to close streets in order for the residents to hold a street party – something which I remember from the Silver Jubilee and Royal Wedding of Prince Charles and Lady Diana Spencer. The scenes shown on TV as thousands of people lined Pall Mall was quite amazing. People from all over the world had come to London to take part in the celebrations and the sea of union jacks all waving madly was really something to behold.

I must confess I did not get caught up in all the excitement as much I thought I would. I did watch the proceedings on TV and thoroughly enjoyed the incredible sights of Westminster Abbey, the beautiful and at times, quite ethereal music from many great British composers and I enjoyed watching the wedding ceremony itself – but at the end of the day, it’s all about an ordinary couple in love starting a life together. Ok, so this ordinary couple are one day set to rule the country and unlike most other newlyweds starting out, their lives will be closely monitored from now on, never being far away from a camera lens but, for them (and us) it was a day of celebration.

 Saturday marked a day that I was more excited to take part in – William Shakespeare’s 447th birthday celebrations in Stratford –Upon – Avon. William Shakespeare was born (and died) 23rd April but this year as his birthday fell upon the Easter Bank Holiday, his birthday celebrations were put on hold for a week.
It seemed that despite his age, or should that be that he died so many years ago, many people were eager to take part in the celebrations of arguably our Nation’s greatest play writers proving that whilst the man may be dead, his work lives on and is still celebrated today.

There was the procession through the town to the church where Shakespeare is buried, featuring many people dressed in traditional Tudor costume but also depicting characters from his plays. There were musicians and singers scattered throughout the town performing music from both Elizabethan and modern times and there were magicians, theatrical performances and Morris dancers – take away the modern shop frontages and at times it felt like you had been transported back in time. There was also a distinct British feel about the celebrations and at times reminded me of the May Fairs we used to go to when I was a child.


The main street and area near the Swan Theatre were decorated with bright yellow shields and banners each representing one of Shakespeare’s plays or characters; it was quite an incredible sight, especially as the union jack bunting was still flying from the previous days celebrations.

The Royal Shakespeare Company (RSC) had laid on many free events for families which included craft activities to make your own Elizabethan ruff or theatrical mask, or having a theatrical makeover by a member of their makeup team. There was also a chance to take part in transforming the Swan Room into a giant birthday cake to commemorate the event. Under the direction of the artist Shane Waltener, children were invited to design and make a decoration for the cake. It was an ingenious idea and looked very effective as the decorations were added to the walls of the room.

I particularly enjoyed a short trip on the Sonnet Ferry, a traditional chain boat that crosses the Avon – and supposedly the oldest surviving one in the country. As we crossed the river, a member of the RSC read sonnets to us – ours being “Shall I Compare Thee to a summer’s day, thou art more lovely and more temperate...”

I also enjoyed watching an outdoor production of Shylock V Antonio – The appeal. Set in modern times, Shylock, still in his traditional costume appears with his modern day attorney to have his appeal read against the original judgement made in the play The Merchant of Venice. Part of his argument was based on the fact that the trial had not been fair in that the person claiming to be an attorney (Portia) was not legally qualified at the time of the trial and had undisclosed connections to a friend of Antonio’s and was therefore biased in favour of him. The whole thing was very cleverly written with references to many modern day things such as people having gastric bands or colonic irrigation to help shift that “pound of flesh”. It was highly entertaining and seemed well received by the informal audience that sat around on the grass watching.

It was great to see how people, young and old and from many different countries joined together to celebrate the works of this man. Many people wore sprigs of Rosemary in their buttonholes (“Rosemary for remembrance” as Ophelia says in Hamlet) and I noticed that some of the park area in front of the Swan Theatre had Rosemary growing in it.

It was a wonderful day out and lovely to take part in such a fun day. It is interesting to note in hindsight, that I’ve become more interested in the works of Shakespeare as I’ve grown older. Whilst, unlike many of my classmates I did enjoy studying him at school, I think it’s only since I’ve grown older that I’ve learned to appreciate him more and gain a deeper insight into his work. In contrast, in my childhood I relished the street parties, the flag waving and all the celebrations of Kings and Queens and fairytale romances and whilst I still enjoy the pageantry, it doesn’t have that same magical feel to it.

So, on our last Bank Holiday (well at least for a few weeks) I intend to make the most of the gloriously sunny day and enjoy it whilst it lasts.

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



Twelfth Night



Today is officially Twelfth Night or Epiphany. The day celebrated as the twelfth day after Christmas and the day when the Wise Men arrived to see the baby Jesus. In Spain, children receive their gifts from the wise men and leave their shoes on their window-sills full of straw for the Wise Men’s mounts.

It is considered bad luck to take down your Christmas decorations before Twelfth Night.

However, today’s blog is in honour of a different Twelfth Night - the play by William Shakespeare, “Twelfth Night or What You Will”. Believed to be written around 1601-1602 for Twelfth Night (Epiphany) as a way of bringing the Christmas festivities to an end. It has all the hallmarks of a Shakespeare comedy; mistaken identity, "comedy, love and a bit with a dog - that's what they want."...sorry I couldn’t resist the quote from Shakespeare in Love!

Plot Summary
Viola, surviving a shipwreck, walks ashore at Illyria, and immediately embarks on a gambit to allow her to make her way in a world of men. Dressed as a man, Viola, now Cesario, insinuates herself into the service of the Duke of Illyria, Orsino. Orsino longs for the love of a neighbouring countess, Olivia, who as she is in mourning for the death of her brother, repels his advances. When Cesario (Viola) undertakes Orsino's bidding and gains admittance to Olivia's chamber, she becomes infatuated with the messenger. Viola (Cesario) then falls in love with Orsino. To add to the farce Viola's (Cesario) identical twin, Sebastian arrives on the scene. Sebastian has also survived the shipwreck, although Viola thinks he has drowned.
Sebastian has been rescued by a sea captain, Antonio. But Sebastian is sad, for he believes his twin sister has drowned. The kindly Antonio gives him money to get along in Illyria but remains behind for the time being because the Illyrians think he is a pirate.

Living in Olivia’s household is her uncle, Sir Toby Belch, a merry character. Belch pretends to promote Sir Andrew Aguecheek as Olivia’s rightful suitor. Belch just wants to use Aguecheeck's  money. The steward of the household is the conceited Malvolio. Late one night Belch, Aguecheek and Olivia’s jester, Feste, are drinking and singing as they often do. Olivia's handmaiden, Maria tries to quieten them but they take no notice. Malvolio catches them and blames Maria for allowing them to behave so badly in Olivia's house. Maria and the others plan to gets their own back by forging a love letter from Olivia to Malvolio.

More confusion ensues with jealousy, mistaken Identity and fights and duels. Sebastian and Olivia fall in love and marry. Orsino realises that it is Viola that he loves and she agrees to marry him. Sir Toby Belch and Maria also decide to marry! Twelfth Night ends and everyone, except Malvolio, is happy and Shakespeare speaks of the madness of love. (www.william-shakespeare.info)

This is one of my favourite Shakespeare comedies and although I have not yet seen it live, I have seen it many times on TV and it never fails to make me laugh. The characters and plot are so cleverly written and the humour still so fitting that it is something which audiences can enjoy even today.

There are also many great quotes that are still cited:

“But be not afraid of greatness: some are born great, some achieve greatness, and some have greatness thrust upon them.”

“Why, this is very midsummer madness.”

“Out of the jaws of death.”

One of my personal favourites, although not as regularly quoted, “Many a good hanging prevents a bad marriage.”

I think one of my favourite scenes (and I share this with my friend Heather) is where Malvolio, convinced of Lady Olivia’s love for him, comes to her dressed in yellow cross-gartered stockings, according to her wishes expressed in a letter to him and supposedly written by her. It’s all a hoax of course and adds to the general confusion and deception in the play, but is nevertheless very funny.

If there was ever a play guaranteed to banish the post Christmas blues, then this would be it. Twelfth Night or What You Will is guaranteed to put a smile on your face. The quick & witty humour is not outdated and whilst some of the comedy may seem rather slapstick it is still nonetheless a great play. Why not see it for yourself and decide.