Recently, at the theatre...

Four great shows, four great evenings. Here, have some typical Hannah reviews (i.e. capslock and feelings and objectification, probably).

The Tempest @ The Globe
Globe, Globe, Globe ... spiritual home, bringer of endless joy, tridecagon of boundless wonder. I shall never tire of it, and was particularly excited about its season-opening production of The Tempest owing to the casting double whammy of Colin Morgan and Roger Allam. Merlin and Peter Manyum? Why, if you insist.

I was never going to dislike the production, with a cast like that and a long-held affection for the play after studying it for A Level (not to mention my Globe-blindness), but it completely exceeded my expectations. Much as I like the play, it is undeniably dry and not one of Shakey's strongest or most exciting. However, the text was eked for as much humour as possible with spectacular results - a charming, magical and warm production, it was a delight from start to end.

Allam's Prospero was, of course, a BEAST of a man - at once commanding and fatherly, and not as cruel as I've seen previously, which was lovely. His interactions with James Garnon's wonderfully ape-like Caliban were less abusive, more piteous - as a softy at heart, this pleased me. Moreover, Prospero's relationship with his daughter was particularly touching, with a star turn from Jessie Buckley too - her wide-eyed, playful Miranda was particularly lovely. Paired with Joshua James' bumbling, puffy-chested, adorable Ferdinand, the two brought a charm to the lovers I've never seen before. Gorgeous.

Jessie Buckley, Joshua James and PROSPERALLAM.

Nautrally, Colin Morgan's Ariel was going to be a highlight for me (tunnel vision, what can I say?), and he was pretty damn magnificent. I wonder whether the Merlin writers had him on some kind of magical diet, because he seems to have grown, bulked and aged about ten years since the show ended. Sprightly and ethereal, he wound his way around the stage effortlessly, and the less said about the whole upper-body-strength thing the better - this blog should at least attempt to be PG13.

Big pimpin'.

Boosted by spending a gloriously sunny day with friends in London, The Tempest was dizzyingly delightful and engaging from start to end.

Taming of the Shrew (Propeller Theatre Company) @ Sheffield Lyceum
This...was a weird one, and warrants a shorter review. I love Propeller - their productions are bright and smart and moving and always well-staged. Taming is always going to be a troublesome play, and I feel like it can be done one of two ways: 1. Kate is as complicit in the interactions as Petrucio is, and they play off each other to find a relationship that works for both of them, or 2. the domestic violence angle is exploited in an attempt to make a point, and exemplify its horror.

I prefer the first, no question, but I can see why you might attempt the second, as Propeller did. Their portrayal was incredibly well performed, particularly by Dan Wheeler - painful and uncomfortable to watch as it should be, there's no doubting the talent involved. I just couldn't get on board with the decision to play it like that. Firstly, alongside the bawdy comedy of the Lucentio/Tranio/Biondello subplot (which was undoubtedly well done again, and had me frequently in stitches), it seemed jarring and uncomfortable, but not in a good way. And secondly, though they amped up the play-within-a-play idea in order to pull away from it at the end, leaving Petrucio/Sly shamed and judged by the players for his awful behaviour, it wasn't enough for me. There wasn't enough overt condemnation of his behaviour to make me comfortable with the way it was played out.

I thought, for a time, that the portrayal was made worse by the fact that it was an all-male cast; but the more I thought about it, the more I wondered whether an all male company were, in fact, the only people who could do justice to such a storyline - the depressing truth being that it takes the overt abuse of a man at the hands of another man to really bring home the suffering Kate endures. It could have been too cruel were Kate played by a woman, and the strength of a man overpowered by Petrucio's cruelty may work to make the realisation all the more shocking.

I just don't know with this one, kids. It left a bad taste in my mouth, and I still can't get my head around why.

This House @ National Theatre
God bless NTLive, the National Theatre's endeavour to screen some of their biggest shows in cinemas up and down the country, and abroad. When I had a steadier job and income, I was back and forth to London an obscene amount, and was lucky enough to see loads of shows. These days, it's far more infrequent, and several live shows have passed me by - much as I'd prefer to see the shows in person, having NTLive to fall back on is a gift.

Particularly for a show like This House, which I would have been utterly foolish to miss*. Set in Whitehall between 1974 and 1979, it dramatises the inner workings of government during the period of hung parliament which saw the two leading parties grasping for as many votes as possible to push their policies through. We see the progression through the eyes and actions of the Chief Whip's offices, as they seduce the 'odds and sods' of fringe parties to their side, desperately trying to get the elderly, incapacitated and infirm into the House to make sure their policies are passed. The play cleverly backgrounds the rise of Thatcher in the Conservative party, which of course takes on a new poignancy watching it now, and the NTLive production featured an interview with Baroness Ann Taylor, who is herself portrayed in the play - and who paid testament to the play's accuracy.

Much as they present fictionalised versions of events, This House and shows like The Thick of It have both shed light on areas of government I never would have given a thought to before - whips, spin doctors, the men and women behind the faces we see everywhere. It's simultaneously fascinating and unnerving to see the cogs in the machine, even more so to realise those cogs are human beings.

Photo by Johan Persson.

A pacy, vibrant, smart and hilarious production with moments of real tenderness and honesty and some brilliant visual effects and choreography, it was a real tour de force from newbie writer James Graham. The cast of main characters were faultless, with the relationship between Charles Edwards and Reece Dinsdale's Deputy Whips in particular a delight, and the rapid accent, clothing and facial hair changes from the supporting cast being pretty damn impressive too.

Reece Dinsdale and Charles Edwards (photo by Johan Persson)

I could talk more about other aspects of the politics of the play that intrigue and unsettle me, like the change in the social makeup of the labour party since the 70s, and the heightened policy-based idealism these politicians seemed to have, as opposed to the glory-hunting that seems to pervade politics these days. This House hints at both these issues and more without thwacking you over the head with a sledgehammer. It directly played into my interests in changing class politics, and made me more determined to pursue study of it further.

Obviously, I can hardly say 'make sure you get tickets!' now the show itself has finished, but gosh it was worth seeing.

The History Boys @ Sheffield Crucible
If you think I am capable of being in any way objective about a production of The History Boys that stars one of my favourite actors in one of my favourite roles, then you are sadly mistaken. I will, however, give it a damn good shot.

When I heard about the Sheffield Crucible (one of my favourite theatres) putting on a production of the History Boys (my favourite play), which was going to run through June 7th (my birthday) and would star Will Featherstone (one of my favourite actors) as Scripps (my favourite character), I was honestly a little bit concerned that someone had been stalking my subconscious, because that it quite literally everything I love. Then finding out that Oliver Coopersmith was taking the role of Posner opposite Matthew Kelly's Hector? Well, I snapped up tickets as soon as humanly possible. There's always a wariness with something that, on paper, sounds so great - what if it doesn't live up to my preposterously high expectations? But in this case, I just knew it would. I had complete and utter faith, and I was not let down.

Will Featherstone and Scripps, in rehearsals. I had ENTIRELY PROPORTIONATE reactions to this photo. (Photo by Robert Day: source)

It. Was. Brilliant. Fast-pased, dynamic, dazzlingly kinetic and energetic, it was a production full of youthful exuberance with its feet planted firmly in the 80s. I concede, with a text this strong it's hard to go wrong, but there was so much newness to the play which meant it was, to me, entirely invigorated. The movement of the sets was cleverly done and refreshed every scene, emulating that clattery desk-and-chair noise only found in secondary schools. The dance and music breaks were wonderful, and the boys themselves moved around with pure teenage vibrancy, as if the soles of their very feet were itchy and they couldn't stand still. The metre-stick-boom and satchel-camera employed during the film recreations; the constant action at the back of the stage; Dakin's earring - all these little touches added to the raucous youthfulness of it all.

Photo by Robert Day: source

And still the play kept its gorgeous moments of poignancy and heartbreak. Posner's reward, the funeral, Hector's breakdown, "the best moments in reading..." - all gorgeous, as they should be. It's also wonderful to see lines you know backwards as fresh as ever, garnering huge laughs from the audience; Ross Anderson's delivery of Rudge's immortal "one fucking thing after another" went down a storm.

The performances (and accents) were excellent all round - Coopersmith's petite Posner, all buttoned up in his duffel coat, was heartbreakingly good, and I was not let down by Featherstone's charming, whip-smart Scripps (who's ability to playing a moving piano was particularly impressive).

Oliver Coopersmith as Posner (Photo by Robert Day: source)

The stand-out performance, though, was Tom Rhys Harries' Dakin, who entirely reinvented the character in my eyes. Other productions have recreated Dominic Cooper's swaggering, old-before-his-time dickbag - not a bad thing of course, as Cooper's portrayal is brilliant. But Rhys-Harries brought Dakin back to school. Younger, gentler, more wide-eyed, this was a Dakin who was still, ostensibly, a boy, who was just as lost as the others, just better at pretending not to be. There was a tenderness and timidness there I hadn't seen before, and it was wonderful.

Tom Rhys-Harries as Dakin (Photo by Robert Day: source)

There's a reason this is my favourite play, and stagings like this are the a reason I'll never tire of it.

***

*I say that having now seen it, so if I had missed it I would have no idea what I missed, but shh with your logic.

The Winter's Tale, Propeller Theatre Company - Sheffield Lyceum

I cannot lie, the majority of this review is copy and pasted from a ridiculously lengthy email I sent to Rob, and will thus be ridiculous. However, I have edited it slightly, because gmail is a much safer home for my shamelessness, and this blog must retain at least a little decorum.

(There be spoilers below. Big ones. Do not read on if you want to remain unspoiled for the production. This means you, Emma.)

To summarise, I loved it. I have a soft spot for it having studying it for A-Level, but it cannot be denied that the play itself is bizarre; with its halves in complete opposition, it can leave an audience a little unsettled, I think.

However, I think the best thing about this production was the fact that they completely embraced the juxtaposition of the two halves. Pussyfooting around it can often result in a weird middle ground that doesn't work for either (as has been the case for other productions I've seen), but with Propeller's they had intense, haunting drama in the first half and proper, balls-out ridiculousness in the second, and I loved it. I've never seen such a polarised version of the play, and it was brilliant.

I was originally a little bit unsure about Robert Hands' Leontes, because his character is basically one of the biggest dickbags ever, and his suspicions hit so instantaneously that to play it more subtly kind of makes him seem like even more of a dick? I mean, the one I compare it to is Anthony Sher in the RSC version, who goes properly nuts with the accusations, so at first Hands' more restrained Leontes seemed wrong. BUT, thinking about it more and reading a couple of reviews made me like it, because it was more sinister and calculated - more knowing, maybe. And I like that. But regardless of how the character was interpreted, his delivery was brilliant.

I loved Vince Leigh's Paulina, and his performance in particular highlighted something I loved about the production as a whole: that, in the first half, none of the guys put on funny voices to be the women. It was all in the physicality, but it wasn't pantomime or stereotype. Brilliantly done. Paulina in particular is badass, and Leigh showed that really well.

Mamillius was done really well too, and I LOVED the way he was in the background for a lot of the scenes, witnessing the dissent and reacting to it - the breakdown scene was heartbreaking, and it makes it even more gut-wrenching when he dies.

Richard Dempsey's Hermione was one of the highlights of the show - he holds himself beautifully, and managed to capture the stalwart strength that I love about the character. I don't see her as resigned and passive, I see her as sure in her goodness and wise to the fact that having a fit about it won't make anything better, and he did that beautifully. The trial scene was incredible, with the microphone and us as the jury, augh.

Richard Dempsey as Hermione - credit: Manuel Harlan

The only thing I wasn't so keen on was the reaction to the Oracle - I always see that as the moment Leontes goes too far, to claim to know more than God, and I've always liked it to be properly shocking rather than played for laughs. But that's only a minor niggle.

THE BEAR! I was underwhelmed, but in a good way, I think. I expected ~A SPECTACLE~, because this is Propeller, but I liked the way it was done (particularly because it carried on the theme of the dolls that had been used throughout).

Final note about the first half, and back to the shallow end - THE SUITS. dsjahfgajhsgjhg such beautiful sartorial choices. Everyone looks good in a charcoal grey suit, particularly these guys.

AND THEN THE SECOND HALF.
OHHHH, THE SECOND HALF.

I knew I was in for a treat, having seen some of the production stills, but OH MY GOD. I hardly know where to start!

Everything was magnificent and preposterous and I loved every second. John Dougall as the Old Shepherd was so tenderly done, especially when he finds out about Perdita. Gorgeous. Karl Davies is just too cute for this life; the scene where Autolycus strips him is always one of my stand out favourites in any TWT production, and this one was SO GOOD - the physicality of it is so perfect, and there was a knitted g-string involved, so yeah. I really liked Tony Bell's Autolycus in general, and the decision to play him as a drunken waster rather that a quick-witted rapscallion - like nothing I've seen before. It makes him all the more cringey and ridiculous. 

The bit with the Young Shepherd, his shopping list and the sheep was INSPIRED, and I was howling throughout. The sheep in general were a fantastic addition, and The Bleatles! And Robert Hands' shimmying! Ohhhhh, this cast <3

Karl Davies as the Young Shepherd, and a sheep - credit: Manuel Harlan.

AND THEN
OH SWEET LORD

I can hardly even do coherency about the ballad. If I say the words 'Lloyd from the Demon Headmaster and Peter Pevensie from the BBC's Narnia series performed a Shakespearean ballad to the tune of Beyonce's Single Ladies, with dance routine', you'd think I'd entirely lost the plot, but I can assure you that I haven't. It was absolutely the highlight of the show, without a doubt. Both were balls-out ridiculous with it, which is the only way to be. A magnificent spectacle, and one which I shan't be forgetting in a while.

I absolutely fell in love with Perdita and Florizel. Ben Allen is ADORABLE and I want to see him in more things because his faaaace, but it was all about Finn Hanlon. SO DREAMY. EVEN IN WHITE JEANS. And then he sang and was so in love and kept touching Perdita's waist and sdjhfgajhsdgfaj. I was absolutely dying for them to make out, I cannot lie. But was thwarted, alas.

I loved the Polixenes/Camillo disguises, and the scene with Autolycus tricking the shepherds into thinking he was a gentleman. Even better was the bit where the shepherds get him back, and have the whole speech about being 'gentleman born these four hours' - always brilliant, and Karl Davies was rocking that blazer.

The ending is always a strange one, because you kind of have to suspend your disbelief for it anyway, but it was touching and beautifully staged, and Leontes' metamorphosis was wonderful. However, the stand-out moment of that section (perhaps the whole show, Single Ladies aside), was Vince Leigh's closing moment as Paulina. Every production I've seen has played the Paulina/Camillo thing for laughs and jollity - 'hurrah, everyone is happy now!', etc. - and it was a real punch in the gut to see her so heartbroken at the end, because everyone got everything they lost aside from her, and it's so, so sad. Perfect touch.