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Mrs Rich, review by Peter Buckroyd

The Fantastic Follies of Mrs Rich
Swan Theatre

I went to the preview of the RSC’s production of this play with considerable excitement. I had reconciled myself to thinking that I would never see a production of one of Mary Pix’s plays and here it is. Why should I care? In the very early 1970s I spent three years reading and studying the three hundred or so tragedies that were performed in London between 1695 and 1740. I have only ever seen a production of one of them. Now admittedly The Fantastic Follies of Mrs Rich is not a tragedy but it is by one of the more popular tragedians of the period. It’s a Restoration comedy. It would be untrue to say that the RSC has uncovered a neglected masterpiece, but Mrs Rich is a perfectly good well-made Restoration comedy, all the more interesting because it is by a woman rather than a man. Most people are unaware that there were at least five well known and popular women dramatists of the later seventeenth and early eighteenth century – Aphra Behn, Susanna Centilevre, Mary de la Riviere Manley, Catharine Trotter and Mary Pix.
What I found most enjoyable about this production, directed by Jo Davies and designed by Colin Richmond is that it catches a great deal of the spirit of what a production might have been like at the end of the seventeenth century. Of course the stage mechanics are very different, but instead of having flats in grooves pushed on from the side stage Richmond has painted curtains which can be furled and unfurled or pulled down as needed. Typical of the period are the many scenes with just a small number of characters who would have performed near the front of the stage because it wasn’t easy to see what with the fumes from the candles and the cigarette smoke. And Richmond has candlelike footlights round three quarters of the stage. There is spectacle, too, in the form of the sumptuous costumes, gorgeous to look at, colourful and a way of filling the stage and in the form of the toy coach in Hyde Park. The set consists of hand props – lots of them – all carried on and off by the cast. The mechanics of this give visual variety and all the transitions are slickly accomplished.
Davies uses a great deal of movement in the production and all members of the cast employ a series of expansive hand and arm gestures which give an authentic sense of period. There are period style songs, too, written by Tarek Merchant and a wind quartet and harpsichord in period costume and wigs which form a pre-show concert. Sentimentality is assured by the appearances of elder Clerimont’s dogs, Lossie and Theia.
What of the play itself? It’s all pretty familiar and recognisable if you know Restoration comedy. It’s a mildly satirical comedy of manners. It unmasks hypocricy, deals with social pretentions, reveals the shallowness of ‘persons of quality’, deals with the complications of inheritance, the crucial need for money in society courtship, marriage, plotting, twists and turns, mistaken identity, mischief making, the more grounded nature of members of the working classes. The only difference is that it is the women who are controlling everything, rather than the men and they are therefore alert to and manage to unmask male folly. One of the more hilarious moments is when there is a challenge and duel between Mrs Rich and Lady la Basset and they engage in a sword fight in their undergarments. Rich widows are searching for husbands and take the lead in their quests. The men might look as if they have some power and authority but they don’t. In the end the women find their husbands and there are marriages (giving the opportunity for yet more gorgeous costumes).
The cast is very good. Compared with the dire performances in Macbeth playing only a few yards away the acting here is properly professional. For me the star is Sadie Shimmin playing a wonderful servant/landlady magnificently. She is a joy to watch and to listen to whenever she appears. But there are other excellent performances, too. Mrs Clerimont turns out to be the moral centre of the play and Jessica Turner does a fine job, completely convincing. Sophie Stanton is on stage most of the time as Mrs Rich. She has most of the songs and is a commanding presence, her gowns taking up a great deal of space on the beautiful shiny parquet floor and the wearer showing them off to their maximum advantage. I felt at the beginning that there was something not quite right about her accent but then realised that that is because she is not a ‘person of quality’ and so her vowels indicate her pretentions. Effective. There are no weak links in this production. It’s a clever move to cast Tam Williams as Sir John Roverhead. He’s a slight figure who looks cute in his posh brocade but he is a small man, morally flawed, who gets his comeuppance at the end. I didn’t grasp why he had rouge only on his right cheek; that possible symbolism was lost on me.
Don’t expect anything very deep and you are bound to enjoy this production. Come and stay at Moss Cottage with its sumptuous breakfast and award winning marmalade and your visit will be complete.

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Duchess of Malfi, review by Peter Buckroyd

The Duchess of Malfi
The Swan Theatre

In The Duchess of Malfi Webster takes the popular Elizabethan and Jacobean genre, Revenge Tragedy, just about as far as it can go, with the result that after Webster there are some pale imitations of the genre, but it soon goes out of fashion. The play is a kind of generic and non-specific political warning, although there are some significant elements such as the too-powerful ruler, the church, the victimisation of women and the dangers of the time-serving self-interested.
In her decision to use modern dress Maria Aberg invites the audience to think about whether any of this has any relevance to our modern world. Of course it does. And she invites us to be horrified by the consequences of being governed by each of these things and by revenge. By her casting decisions she adds racism to the mix.
I have yet to see a production of Maria Aberg’s where I saw what I expected. This is no exception. The production opens with a woman (presumably the Duchess (Joan Iyiola)) laboriously dragging the corpse of an enormous animal – I thought a bull – diagonally across the stage when it is eventually hung up. Pretty soon violence, eroticism and masculinity are depicted in a boxer dance, and a heavy metal thugs dance. The Jacobean obsessions with sex and death soon become clear with the Duchess’s obsessive but forbidden relationship with Antonio (Paul Woodson) and the repressed incestuous and sexual attractions of Ferdinand (Alexander Cobb) set up the ensuing plot nicely, particularly when he castrates the hanging bull and blood rushes from its genitals. Gross. I have seen many attempts to provide motivation for the villain Bosola (Nicholas Tennant), but here he is motiveless and blustering, his shouting in the early scenes simply adding to the audience’s frustration and disgust.
The executioners are big sexy boys supporting Bosola who becomes the executioner, having been the tombmaker. It would be hard for the audience not to have some modern parallels in mind and only those incapable of thinking in metaphorical terms could avoid the warnings of horror.
Blood soon begins to seep across the stage and towards the end the mad people are in white, contrasting with the thugs in black but all trying to negotiate their way across the increasingly bloody and slippery stage. The whole set becomes a metaphorical prison of death. But Webster does allow a glimpse of an alternative world in the minor characters Delio (Greg Barnett) and Cariola (Amanda Hadingue) who offer an alternative world of moral normality.
The play and production are gloomy (with dark lighting) and inevitably disastrous and I thought Aberg did a tremendous job in presenting so little for us to empathise with. All except Delio and Cariola are morally flawed and even Cariola succumbs to trying to save herself by lying at the end. But I did tire of it when the last ten or fifteen minutes simply reiterated what had gone before. Until then, however, my attention was fully held and my brain was active.
This is not a play for the squeamish and it certainly isn’t a producton for them. But I think there is much to admire in it.
Where better to return to after seeing it than the welcoming comfort of Moss Cottage where you will have a warm welcome and no dead animals or pools of blood?

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Macbeth, review by Peter Buckroyd

Macbeth

We went to the first actual preview of Polly Findlay’s production, the first two having been cancelled. It interests me how Macbeth, one of the easiest and most straightforward of Shakespeare’s plays to mount, unleashes a considerable amount of creativity and innovation from director and designer. Take, for example, the Old Vic production where Peter O’Toole exited backwards and knocked the set down. Or Mark Rylance’s Greenwich Theatre production when Macbeth and Banquo travelled across Scotland in a stationary half car and when Lady Macbeth weed on stage and her gentlewoman mopped it up with kitchen roll, provoking prolonged hysterical laughter from the teenagers studying the play for GCSE. Or even Stratford’s production when the witches became Macduff’s children and when Jonathan Slinger as Macbeth prepared for battle at the top of a stepladder on a bare stage.

This production also has a range of creative and innovative features which are just as effective as in those three productions I have just mentioned. Designer Fly Davis has created a large rectangular stage with a walkway round it where actors can perambulate without having to sully the huge main bare area. The opening is remarkable: an old man is in his bed and there are three little girls in their Christmas pyjamas sitting miles apart from each other, each fiddling with her teddy bear as well as another character who turns out to be female when she stands up sitting facing away from the bed doing nothing. Upstage right is a person who looks homeless sitting on a chair. He remains when the bed is pushed off for the next scene. Who are they, one asks oneself? Later we learn unsurprisingly that the old man is Duncan. Surprisingly the little girls are the witches who eventually speak, in chorus, miked with an echo chamber, a few of the lines which Shakespeare wrote for them. The female turns out to be someone’s wife (if she is Duncan’s daughter in law why does she completely ignore him?) and the homeless man is the Porter/Old Man/Seyton (all in the same clothes so it is obviously not an actor playing three parts although he has three different accents). Another masterstroke is the digital clock with red numbers which counts the time down to Macbeth’s death in real time, often prompting audience members to realise how incredibly slowly time can go when you’re not having fun and when all you want is a glass of wine. Innovative, too, are the projections, mainly rather random although always portentous quotations from the play except for the most commonly shown one, “Later” which might be helpful to those members of the audience too bemused by what they are seeing to realise that the play is a chronological narrative. The technical problem of the ‘line of kings’, obviously much too demanding to realise on stage, is shown by means of a blurry and dimly lit film projection. I was just glad that the clock didn’t show that we historically had to wait fifteen years for Macbeth to die.

Two levels were used, too. So that the main large stage could remain as empty as possible for as much of the time as possible, Polly Findlay placed a social group on an upstage balcony, suggesting social interactions but economising on props and on bringing things on and off stage. Nothing significant happened up there but it provided a welcome distraction from the ‘sawing the air’ happening down below.

Unusual decisions have also been taken in the acting department. Because so many of the scenes and speeches have been cut in length there aren’t many words left to fill the advertised two hours and five minutes and so the unusual decision has been made to have what remains delivered very, very slowly.
This should ensure that every word can be heard and pondered on in isolation. Unfortunately the actors’ articulation at the first preview was so poor that there were only three actors whose every word could be heard. I don’t think that this was a conscious decision. Although the effect was in keeping with the mildly surrealistic nature of the whole, I think it was incompetence. Another extraordinary decision was to have a great deal of crouching in the production and to characterise Lady Macbeth by manic rushing about in her early scenes (once she had read her husband’s letter while sitting upstage next to the homeless person). There was much flailing of the arms, too, such as pointing exaggeratedly to where something might be happening. Stevie Basaula as the Bloody Captain managed to amalgamate all these extraordinary acting decisions by not only emphasising every word (sometimes every syllable) but accompanying each with a kind of nodding gesture. I had never seen this technique used in professional theatre before. I had also never seen a battle staged like this before. Macbeth and Macduff were alone on a bare stage waving a sword apparently randomly, sometimes near each other. Another surreal scene, I suppose. Underwhelming, though.

Christopher Ecclestone plays Macbeth. My partner thought that he displayed inner turmoil. I didn’t get it. You could hear what he said (or sometimes shouted), however. Niamh Cusack plays Lady Macbeth. Bally Gill as Ross and Tim Samuels both had moments where what they did and said made sense. Other people played the other characters. I felt sorry for Michael Hodgson as the Porter and others. He walked about a bit in the Porter scene but had to watch the whole thing, mainly sitting down except when he was turning a light on or off.

Come and have an enjoyable stay in Stratford. You will have a warm welcome at Moss Cottage if you decide to stay the night. And in the evening you can go and see a play in the Swan Theatre or at the lesser known Attic Theatre or Bear Bit theatre.

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Rsc Twelfth Night, review by Peter Buckroyd

Royal Shakespeare Theatre
Twelfth Night

Maybe it’s because Shakespeare chose Illyria as the setting for his play – part of the western Balkans in the time of classical antiquity – a place with no particular resonances either for an Elizabethan/Jacobean audience or for us, particularly when Sebastian and Antonio are staying at a hostelry at the Elephant just down the road from Bankside in London – that directors and designers have chosen to set the plays anywhere they like. Most of those I have seen have been decorative. But the best productions choose somewhere which enriches the text rather than just decorates it. I’m thinking particularly of the RSC production about thirty years ago which set the play in Stratford and made the entertainer Feste’s home ‘hard by the church’ New Place, setting off a mass of possible biographical allusions in the play. But I haven’t seen many productions like that.
Director Christopher Luscombe and designer Simon Higlett have chosen the 1890s for their production, maybe fortuitously but particularly appropriately timed because of the current Oscar Wilde season at the Vaudeville theatre in London. The sometimes dodgy sexual and gender issues in the play are seen in a new light. Orsino (Nicholas Bishop) is not the usual Chattertonian melancholic but a dandy about town who really doesn’t care very much what gender his love object is. established right at the beginning with his kissing Valentine. Olivia (Kara Tointon) indulges herself in fashionable Victorian prolonged mourning but is quite open to the attraction of a bit of eye candy. All this is set against the twin stuff. Of course it was obvious that after Hamnet’s death Shakespeare was always reminded of Hamnet when he saw Judith; maybe that’s why he doesn’t appear to have liked her very much. In their normal clothes Viola (a spirited and rather splendid Cesario played by Dinita Gohil) and Sebastian (Esh Alladi) are dressed identically and we can begin to understand why people can’t tell which is which when we realise that the great English unwashed say that all Chinese people look the same or that the Chinese call white Westerners ‘big noses’ because they all look the same. Further use is made of the 1890s by the references to Queen Victoria’s patronage of Abdul Karim, mirrored by Olivia’s patronage of Feste (and, possibly Queen Elizabeth’s and later King James’s patronage of Shakespeare). There is an aesthetic exoticism about the households of both Olivia and Orsino which unifies the setting. The production is a rich presentation of ideas which a twenty-first century can engage with.
That is not to say that the setting solves all the problems in the play. Antonio’s misery and disillusionment at the end of the play picks up on the complex sexual dynamics in the play but (and maybe this is a costuming issue) doesn’t quite convince that he is a pirate or that he belongs in the 1890s. And I didn’t see how Sir Toby or Sir Andrew were from the 1890s either. I did get Malvolio, though. Adrian Edmondson gives him a rather sinister and unpleasant edge, familiar both in Shakespeare’s dealings in the theatre world of the 1590s and Oscar Wilde’s encounters three hundred years later.
It took a second viewing of the production for me to realise that this is very much a contemporary, twenty-first century interpretation of the play, showing that where sexual attraction, and even love, are concerned, gender is not a significant issue. So Orsino can give Cesario a passionate kiss while sending ‘him’ to woo Olivia. Olivia can fall for Cesario while ‘he’ is pretending to be Orsino’s emissary. Olivia can fall for and marry Sebastian as it doesn’t matter what gender he is and whether he is really male or just masquerading as male. Orsino loves Cesario anyway so it doesn’t make any difference at all when ‘he’ turns out to be female.
Of course there are casualties of all this. The older generation, with more conventional views of love and marriage – Sir Andrew’s (Michael Cochrane) that they can be bought, Sir Toby’s (John Hodgkinson) that they are a reward for misdeeds and favours done, Antonio’s (Giles Taylor) that a gay relationship is all that counts, Malvolio’s that he can overreach his status and class – all suffer because they have not been able to enter this new world, characterised on one hand by metrosexuality, on the second hand by the covert bisexuality of the 1890s and on the third hand (eh?) by the hidden and unspoken sexuality of Elizabethan and Jacobean England..
Maybe this is all too much about ideas. What about production values?
This is the first production I have seen where I have been able to believe that Viola and Sebastian could be mistaken for each other. They are dressed the same and to a considerable degree mirror each other’s postures and gestures.
Simon Higlett’s design is outstanding and beautiful to look at. The exotic and opulent cushions, furnishings and pre-Raphaelitish paintings in Orsino’s establishment give a clear indication of the aesthetic decadence of the 1890s while evoking in the interior of Leighton House. The painting being done by Orsino at the beginning is very similar to one of Linley Sambourne’s photographs, though here the model is the dishy Tom Byrne rather than Sambourne’s servant. Feste, described in the programme’s dramatis personae as Olivia’s munshi, wears Asian/Middle Eastern costume, linking him in terms of ethnicity and culture with Viola and Sebastian and therefore providing a kind of prolepsis of the Olivia/Viola/Cesario/Sebastion plot. A railway station entrance hall establishes the idea of a journey, sets period and gives a new and interesting geographical dimension to the distance between Orsino’s and Olivia’s courts. The Gilbert and Sullivan style patter song at the end frames the whole play in the 1890s. Olivia’s garden provides the setting for the best comedy in the play – Sir Andrew, Sir Toby and Fabria’s spying on Malvolio being statues behind a fountain – at the same time as providing ideas about Malvolio’s blind self-absorbtion and the gullers’ ridiculous posturing.
Luscombe’s use of short pauses and caesuras, particularly in his presentation of Viola, made me listen afresh, and his decisions about when characters would address the audience rather than each other drew attention to a range of details and phrases often skated by.
This production is shaped with changing tones which create the effect of an exquisite piece of music.This rich production is not only worth seeing. It is worth seeing more than once. Splendid.

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Dido, Queen of Carthage. Review by Peter Buckroyd.

Dido, Queen of Carthage

I read this play by Marlowe fifty years ago when I was an undergraduate. I thought it was unputonable. So I read it again before I went to the Swan to see Kimberley Sykes’s production. I still thought it was impossible.
It certainly isn’t a very obvious twenty-first century blockbuster, but it’s always good to see an old play by a great dramatist for the first time. I wasn’t disappointed. It helps to know a bit about the Trojan wars in order to be able to follow some of the references, but it’s easy to mug that up on the internet before you go.
This is the first Marlowe production at the RSC where I have heard Marlowe’s ‘mighty line’ and I suspect that the RSC’s voice coach Anna McSweeney did a great deal of work with the company to make the verse speaking so effective,
The story is very simple. Aeneas is shipwrecked in Carthage after the Trojan war. The gods manipulate Dido into falling in love with him. She rejects her would be lover Iarbus. Aeneas eventually leaves her. She kills herself.
There is a lot of talk in this play, even though many of the long poetic speeches are cut or curtailed. But it’s made very palatable by Ti Green’s wonderful design. There are some splendid effects and lovely use of the stage space. The banquet scene where Aeneas tells the story of the Trojan War has an authentic middle eastern meal on small benches while the other characters are the audience and the audience watches the audience watching Aeneas, played by Sandy Grierson. Lovely frames.
The set is a sandpit, creating the footprints of the gods at the beginning – a metaphor for the whole of the action – the dousing of fire and the connections of the characters with shifting ground, both physical and metaphorical. Wonderful effects are created by proscenium rainstorms, characters arriving through the water – sea, rain – proleptically preparing for the play’s conclusion.
Dido’s suitor Iarbus (Daniel York) was not at all what I epected from reading the play. He held the audience’s fascinaion throughout. I had also not expected my reaction to the gods. They even control the music (a wonderful eclectic score by Mike Fletcher). It is they who are responsible for the tragedy at the end and it is their conspiracy to make Dido fall in love with Aeneas which leads to our complex reactions to her death at the end. It isn’t just a thwarted love story; it all happens because of blind belief in the gods (God? Protestant? Catholic? Marlowe as atheist?)
There are other hints of Marlovian subtext, nicely but subtly brought out. There is the relationship between Jupiter the (splendid Nicholas Day) and Ganymede (the cute Andro Cowperthwaite) and between Juno and Hermes. It was good to see a hilarious Cupid played by Ben Goffe. Watch out for some fascinating details. There are some tattooed feet. There are presaging echoes of Doctor Faustus. I ended up thinking how powerful this play must have been when Dido was played by a teenage boy.
I wish the ending had been more subdued and subtler. I could have done without all the squirming as Dido dies, and the end was shouty and screamy. The last very few minutes apart I really enjoyed this rarely played piece. You should see it. Come and make your stay complete with a night at Moss Cottage.

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