“As You Like It” by William Shakespeare

at the Royal Shakespeare Theatre, Wednesday 24th April 2013

*Originally written for Exeunt*

Around two-thirds of the way through Maria Aberg’s production of As You Like It, as yet another bizarre wooing scene took place and various characters continued to appear unannounced bearing news of important plot points, it dawned on me just how little sense Shakespeare’s summer comedy makes. It’s a hotch-potch of language, genres and characters complete with a strange forest lord, some couples who fall instantly in love and one unhappy wife at its ending. But while many directors choose to trim the text to bring out certain themes, Aberg chooses to leave pretty much the whole messy, convoluted text intact and embraces its anarchy, so that what we get is a raw production full of passion, demonstrating the necessity of love and its relationship to nature.

The first act begins with Orlando (Alex Waldmann) sweeping leaves centre stage, an oppressive timber structure behind him shutting out light and silencing dissent with its menace.

“King John” by William Shakespeare

at the Swan Theatre, Thursday 19th April 2012

Arguably, it is only when witnessing a Shakespeare play in performance for the first time that we truly realise the Bard’s genius not only as a poet but also as a dramatist. This unknown quality is partly the reason for the success of Maria Aberg’s production of King John, but her superb direction is the main cause. The performance takes us everywhere theatre should, whilst throwing in some panache in the process.

The story, which deals with the turbulent relationship between England and France during John’s reign, here becomes a parable of family politics. Two families try to reconcile all by presenting the other with a suitor who shall be married to one another. From the superlative wedding scene onwards, however, individual arrogance and pride gets in the way and more than one death weighs on the minds of the participants.

By setting the play in what seems to represent a modern village hall, Aberg brings these familial tensions to the fore. The amount of rubbish on Naomi Dawson’s staired set correlates negatively with the number of people on stage at any one point, putting us in mind of those parties which wear on into the early hours of the morning, which see relationships break down and the truth spilt (though maybe not multiple deaths).

Adding to this is the decision to change the genders of the Bastard (Pippa Nixon) and the Cardinal Pandulph (the menacing Paola Dionisotti), meaning the women of this play are just as instrumental in events as the men. Although this is being deemed as the show’s USP, however, we forget the two roles were initially male; a hymn to gender blind casting if ever there was one.

More impressive is a fantastic cast who manage to give the words power without actually acting like the nobility the script dictates. The wide-eyed Nixon is fantastic, leading the audience through the twists and turns of the narrative and gaining our trust from the moment she steps onto stage to sing ‘Land of Hope and Glory’ on the ukulele (a nice touch). In Alex Waldmann, she has a worthy partner, and he portrays John with calm passion, debunking the name of ‘bad’ he has been given. Good support is provided by Siobhan Redmond’s wise Elinor, Oscar Pearce’s somewhat idiotic Dauphin, Susie Trayling’s steely Constance and John Stahl’s sturdy King Philip, while

Aberg’s stagecraft is masterful. The wedding scene is frenzied in its drunken fluidity, and it countered beautiful by the final scenes towards the end of the play, shouted across the auditorium from the balconies. John’s death scene is like no other, and the production is soundtracked brilliantly by Carolyn Downing, who uses everything from Rihanna to Dirty Dancing. David Holmes’ blazing and striking lighting adds to the feeling of tragedy.

By making the play contemporary, Aberg also manages to comment on current discussions about Scotland’s place in Britain. We see that, although union between countries (like that between England and Scotland) can seem like a desirable thing to begin with, underlying tensions and differences means a permanent union is impossible (especially if one country attempts to take more control). More than anything, however, this is a deeply affecting production which reaches astonishing levels of emotion. King John is by a long shot the best thing the Royal Shakespeare Company is showing this season, and is perhaps the best thing they’ve produced since The Merchant of Venice last year. Though if you were silly enough not to enjoy that, this probably isn’t for you.

“Richard III” by William Shakespeare

at the Swan Theatre, Monday 16th April 2012

*The performance reviewed was a preview*

Richard III is one of those plays which, on the page, seems to have many issues and feels a little like it doesn’t make sense and that characters’ motives are out of kilter with their actions. But rather than go down the route of many directors who try to smooth over these imperfections through ingenious devices, Roxana Silbert, in her production for the Royal Shakespeare Company’s “Nations at War” season, shows that these difficulties are part of the play. She shows us a distorted thriller, capitalizing on Gloucester’s ‘oddness’ in the charismatic, energetic performance of Jonjo O’Neill as our tragic hero.

Silbert’s setting is pretty much timeless, and puts the action at the heart of proceedings. At first, Ti Green’s tall steely set seems straight-laced and ordered, but within moments it’s clear that the floor panels are angled to look like off-centre reflections in a mirror. A Frankenstein-inspired light fitting (in a dark design by Rick Fisher), complete with wire frame and lightbulbs, hangs over the thrust. Doors and windows are constantly discovered at the back of the set, opening up portals onto ideas not yet contemplated. Nick Powell’s music is superb, and uses the tones and rhythms of a fifties spy thriller in order to set the scene. During the final sword fight, it makes everything feel like it is performed in slow motion.

Unfortunately, a few performances are over-acted. Pippa Nixon’s Lady Anne is not quick enough to match up to O’Neill’s Richard, and she is somewhat too liberal with her gestures. Likewise, Mark Jax’s Edward IV falls a little flat and Sandra Duncan’s Duchess of York verges on dull. Nevertheless, we are treated to solid performances from Edmund Kingsley’s Clarence and Alex Waldmann’s Sir Catesby, whilst Brian Ferguson’s Buckingham and Siobhan Redomond’s Elizabeth offer some impressive foils to this production’s Richard.

Jonjo O’Neill in the title role is, for me, nigh-on definitive. He moves away from so many actors’ decision to play the tormented prince as someone who is jolly in the presence of characters and sullen in the audience’s gaze. Instead, he is perpetually charming, and woos us with his skills as a comedian and presenter. We are entirely implicit in his rise, and when he addresses the citizens, we can’t help feeling we’re egging them on as Richard’s minions. The verse builds up in his mouth before being spat out, his tongue gliding over the vowels and dancing over the consonants. I haven’t ever heard these speeches spoken with such relish.

What’s particularly striking about this production is the number of times we find ourselves laughing. Right up until the incredible final sword fight (haven’t seen a proper one of those in a while), we are laughing along with Richard. It is this, matched with his oddity, which makes his demise so tragic. It feels like he may just joke his way out of execution, but just like him we’ve been able to see deep down the pain which would culminate with death. Richmond (Iain Batchelor) tries to take over by appealing to us near the end, but we can’t help feeling that with Richard dead, the state will be a far less interesting place to live.

“A Midsummer Night’s Dream” by William Shakespeare

at the Royal Shakespeare Theatre, Saturday 6th August 2011

We see Shakespeare’s most famous plays so often that they can fail to give us anything new on each subsequent visit. Every now and then, however, a production comes along which makes us see a play completely afresh. Nancy Meckler’s somewhat psychadelic production of A Midsummer Night’s Dream puts a whole new perspective on this loved comedy, and provides some of the funniest moments of Shakespeare I’ve seen.

Meckler’s concept makes perfect sense; the world of Athens is a patriarchal, tyrannical warehouse, where women are not listened to. As Hippolyta (Pippa Nixon) falls asleep and becomes Titania in her dream world, her desires and worries are played out in front of her; her realisation then leads to the cleansing of the tyranny of Theseus’ (Jo Stone-Fewings) court. The lovers are part of this world, shown by some sensuous and mesmerizing physical theatre.

The four lovers are on fine form. The gentle Nathaniel Martello-White is given a run for his money by Matti Houghton’s fiery Hermia, while Alex Hassell’s powerful Demetrius is matched perfectly with the Lucy Briggs-Owen’s extraordinary and neurotic Helena. Nixon and Stone-Fewings are both calm, considered beings, and should be matched again soon. Arsher Ali’s plain-spoken Puck begins a little shakily, but quickly has the audience in the palm of his hand.

The Rude Mechanicals naturally give us the majority of laughs, presided over by Marc Wootton’s oblivious but remarkably charming Bottom. Michael Grady-Hall’s androgynous Flute and an autistic Snug (Felix Hayes) mean this isn’t your usual set of wannabe-thesps. Their performance of ‘Pyramus and Thisbe’ matches anything in One Man, Two Guvnors.

Katrina Lindsay’s set turns from whitewashed blandness to colourful dream-world with the help of Wolfgang Gobbel’s glorious turquoise and orange lighting. What we are watching is clearly a dream, as pillows and chairs cover the stage and characters never feel quite human. Keith Clouston’s imposing score has a variety of moods, from thunderous drum beats to jovial jigs.

What Nancy Meckler has done with this Dream is to show that’s exactly what it is; a dream. The lack of ‘magic tricks’ actually makes the production far more magical, and the energy never drops. This is in fact a production showing the redemptive power of sleep and the importance of dreams, whatever their form. Now truly settling into their new home, the Royal Shakespeare Company is well and truly back in business.