pericles at the rsc...

On Monday evening we went to see the RSC’s production of Shakespeare’s ‘Pericles’ at the Swan Theatre, Stratford-upon-Avon (featuring ‘our’ Felix in the roles of Antiochus and Pander). It’s Tamara Harvey’s first production as the Royal Shakespeare Company’s co-artistic director.
It’s a play that isn’t performed all that frequently (it was last staged by the RSC 18 years ago) – perhaps because some believe that it’s only partly by Shakespeare? The plot is complicated and, in somewhat typical ‘Shakespearian’ style, includes shipwrecks, death at sea, royalty, incest, tyranny, three father-daughter relationships, unrecognised relatives, tragedy, humour and pirates!
I thought the play made a rather plodding start (the early acts are generally ascribed to George Wilkins – which might explain things - and not helped, again in my humble opinion(!), by some rather uninspired choreography), but developed impressively subsequently. Alfred Enoch (Pericles) is quite brilliant as Pericles and, as you would imagine at the RSC, the rest of the cast – in their bright pinks, purples and azures - combine to provide impressive support.
I always love going to plays at the RSC (I adore both the Royal Shakespeare and Swan theatres) and this production was no exception.

'as you like it' at the RSC and my ageing brother…

It’s my lovely brother’s 70^th birthday next month and so, as one of the activities for his ‘Birthday Festival’, we went to the RSC at Stratford to see Shakespeare’s ‘As You Like It’ (directed by Omar Elerian).
Somewhat fittingly (I’ll pretend it was all part of my cunning plan), the current production featured actors who were 70+ years (as well as four young, talented actors at the beginning of their careers) and focussed on age and the ageing process in general… and with lots of humour. Rediscovering the themes of freedom and love from the perspective of older age.
 
This was a somewhat different version of the play: Set in a rehearsal room, the cast are presented as gathering to remember a production they created when young (back in 1978). Reflecting on the memories – both happy and sad – and the wonder of it all. There’s something rather wonderful about acknowledged performers in the ‘later stages’ of their careers being able to demonstrate their undoubted skills and experience while enjoying the camaraderie of the past, while performing roles written for actors 50 years their juniors! It’s all played out with lots of humour – the ‘fight scenes’, for example, being little more than awkward grappling as opponents readily acknowledged that they ‘couldn’t do it anymore’!
The quality of the acting was predictably high and, in particular, I was really impressed with the performances of Geraldine James (Rosalind) and Malcolm Sinclair (Orlando) – and I thought GJ was looking rather wonderful for a 72 year-old! – capturing the innocent of excitement of first love.
The play is also about memories – both happy and sad – the people we love; the things we recall; the things we’ve forgotten; the places we’ve seen; the things we might have done; the things we have achieved; the wonder of it all… and, of course, the things still to come.
But, what about the Forest of Arden? The audience is left with imagining the forest until the very end, when the forest was revealed in all its glory. The only disappointment for me about this dramatic scene was that the cast spoke their words from the very back of the stage AND with their backs to the audience – which made audibility less than ideal (I’m sure I wasn’t the only audience member to think this). Fortunately, this was followed by Rosalind’s rather beautiful adapted epilogue (performed facing the audience!) endorsing love at all ages.
But, as ever for me, what I REALLY love about theatre is the ‘live performance’ of it all… what you’re seeing is a one-off… the excitement, the uncertainty, the promise and the drama of it all.
I REALLY enjoyed this production… an absolute treat.
Photo (copyright RSC): Geraldine James (Rosalind) and Malcolm Sinclair (Orlando).

vice versa…

Moira and I went to Stratford to see the RSC’s “Vice Versa” at the Swan Theatre on Thursday evening. Written by Phil Porter and directed by Janice Honeyman, this ‘Roman Comedy’ was inspired by the plays of Plautus (Roman playwright who died in 185BC… and who’d actually based his plays on Greek plays, ideas and stories… as if you didn’t already know!). The RSC programme also provides the play’s alternative title: “The decline and fall of General Braggadocio at the hands of his canny servant Dexter and Terence the monkey”.
You get the general idea… it’s a comedy!
We love going to Stratford and we love the RSC… but one other reason for making the trip was that the play also featured Felix Hayes (Hannah’s husband - but you knew that, didn’t you?) in the role of General Braggadocio. The RSC programme describes the action thus: “General Braggadocio is in no doubt that everyone adores him – especially the local women of Rome. His servants, Feclus, Omnivorous and the savvy Dexter, are at his mercy and either flatter, fear or avoid him. The truth is, Braggadocio lives up to his name. Unable to bear life enslaved, Dexter has a plan…”.

It’s all a ridiculous, over-the-top farce (featuring almost predictable comic situations, double entendres, stock characters, thwarted lovers and identical twins)… but wonderfully played by a really excellent cast. Sophia Nomvete, as Dexter, and Felix, as General B, are both brilliant. I may be biased (who me?), but one theatre critic described his performance in the following terms: “Felix Hayes as the cocksure but crackpot General Braggadocio starts off with all the dials on ten and never lets up. Red-faced and on the point of meltdown throughout, he blusters and bullies but still has time to ridicule himself. It’s a case of excellent material meeting a superb characterisation”.

I think that’s just about spot on.
Despite all its humour, the play also contains relevant themes of chauvinism, freedom from oppression, and migration… and, indeed, there are various direct and indirect references to a certain US President (indeed, the programme includes a large colour photograph of the current President, smiling gormlessly whilst being kissed by his wife and daughter)!
In the programme, the writer Phil Porter beautifully describes it thus: “… the aspect that should be most recognisable in our world today is a certain strand of masculine, bullying behaviour, and the association of this behaviour with power”.
The sad thing is that Mr Trump, the pathetic egotist, would probably be delighted to know he’d made it into a programme of the Royal Shakespeare Company!