Walking into this production, I was expecting approximately two things from the coverage I had seen – plenty of gender fluidity and northern accents*. It definitely delivered on both – as well as an engaging and witty production.
Do you know, I think back when I started this project I thought it might be a nice achievement to tick off, and I’d write a set of intellectual reviews to look back on and remember what I saw and when in greater detail than I would otherwise recall with the passage of years. And then I started writing* and emoting** and then the next thing you know, the whole world has gone very strange and you’re going to see Henry V when there is an actual war on.
So that’s my upfront, big message, OK? It is hard to enjoy Henry V when you know that as you sit in the theatre seeing people pretend to die in battle that Ukrainians and Russians are losing their lives and there’s a credible risk of nuclear war. Credit where credit is due – this was not a production that glorified either war or the people who made it happen, even if I’m not entirely sure what it was trying to be about.
My first real COVID-19* theatrical experience was a chewy number with a lot to remind me why live theatre was so great but maybe also a sense that there’s a bit more to come.
Such excitement there was too about this show – two helicopters hovering overhead, and the Houses of Parliament even put on a firework display near the end. The chaos (both scripted and additional) was ably managed by a cast who were universally excellent at making themselves heard and felt*. Not only that, but they were naturally funny – managing to get a laugh out of the audience when urging us to buy programmes before the play had even begun – and Beatrice’s corpsing when Benedick stopped mid-scene was entirely forgiveable, and didn’t hold the action up since we were waiting for that damn helicopter to move off in any case.
What a year (and a bit) it’s been. I have tickets booked for an actual play in an actual theatre for the first time in – ooh – eighteen months? And the hope that that might actually happen has made me realise that I have been hanging on to reviews of the few shows I did get to in 2020 for far too long – so here they are, if somewhat truncated!
This is my first proper Taming of the Shrew – it’s pretty rare, six years in, that I manage to get a new play, so there is that*. Still, it has big, massive boots to fill in terms of telling the story of 10 Things I Hate About You. If you know a better modern Shakespeare adaptation tell me**.
I can’t necessarily say I enjoyed it but this play certainly offered a lot to chew on. It was a bit of an odd duck – and I don’t just mean Henry himself, bless his innocent and foolish soul…
Another year, another Much Ado. Yay! And I was particularly thrilled to be catching a production from the Shakespeare Tobacco Factory, a Bristol-based company about whom I have repeatedly heard excellent things but have never managed to see “in the wild” as it were.
Oh my giddy aunt. I have had a most rare vision, past the wit of man to say – except that that’s the job I’ve set myself! It was a wonderful shared vision too – the delight of promenading at the Bridge Theatre (not lessened over time) is at least partially in its communality.