Review: King Lear - Theatre In The Forest, Rendlesham

Shakespeare productions still appeal to directors, not only for the strength of their writing, but also, despite their age, the ability they have to be constantly re-imagined in new ways.

King Lear seems to have a particular fascination for directors looking to place their stamp on the production. Over the years we’ve reviewed all male Lears, all female Lears, dance Lears, musical Lears and even a Japanese Lear. Johanna Carrick’s production for Red Rose Chain, though, takes a different tact – bringing out the comedy of Lear.

For what is widely recognized as one of the Bard’s greatest tragedies, it may seem an odd choice, but like any of his work, Lear defies straightforward categorisation and alongside the dark there is plenty of shade.

It’s clear from the outset this isn’t going to be your traditional Lear, with the audience asked to stand to greet the Monarch. There can’t be many Lears, though, that have made their entrance full speed on a gold clad mobility scooter, resplendent with monograms and bedecked with jewels.

Carrick’s adaptation strips the epic tragedy down to its bare component parts, focusing in on the central characters. It does allow the plot to hurtle along at break-neck speed but it does, at times, lose some of that majestic sweep.

Edward Day is a much younger Lear than we traditionally expect but revels in bringing out the Monarch idiosyncratic side as well as a darker facet. It’s a radical interpretation that mixes the Madness of King George with Lear. Despite the unusual take, it’s a performance that commands attention.

There’s also fine work from Lauryn Redding’s Cordelia, Scott Ellis’ Edmund and Carrick’s own performance as arch villainess Goneril. Her production makes full use of the forest setting, becoming suitably darker as the dusk falls over the pine trees.

The comic take is certainly inventive and entertaining and for those looking for an entry point into perhaps one of Shakespeare’s strongest examinations of at the human psyche it’s a highly accessible piece. As a concept, though, it’s not entirely satisfying; the lightness of touch robbing some much needed dramatic tension. The comedy makes it hard to fully emotionally connect with Lear and his warring daughters.

Those seeking a traditional Lear may be disappointed but then again this production isn’t aimed at the aficionados. For those looking for an entertaining evening, regardless of authorship, the piece is pure fun. Is it Lear? The jury’s out. Is it entertainment? On that level you can’t fault it – seven actors, the open air, and a minimal set holding and audiences rapt attention for two and a half hours is hard to dispute.

Written originally for The Public Reviews

Review: Fag Ends And Families - Sir John Mills Theatre, Ipswich

There’s the well-known saying that you know you’re getting older when the policemen start looking younger, but in Simon Egerton’s solo show Fag Ends and Families it’s when the bar owners don’t look old enough to drink that triggers a sense of encroaching age.

Egerton says the piece isn’t ‘exactly’ autobiographical but even so it comes across as a deeply personal account of growing up, our shifting relationships with our parents and our own self-doubt. Merging storytelling, poetry and music, Egerton journeys from childhood memory through to a more sombre reflection of adulthood. It’s the family that shapes the child and here there are three strong influences in the youngster’s life. A chain smoking grandmother who instils a sense of style and grace in her young protégée, a father who has his own heart-breaking secret to hide and a mother in morning after the death of her firstborn.

Egerton cleverly interlaces the humorous anecdote with the darker, off footing his audience who find the piece becoming more intense as the hour develops. The story of the father’s battle with a latent homosexuality is particularly moving and well handled. While the monologues are well delivered and observed, it is perhaps in the more reflective musical numbers that the true narrative really takes flight.

There’s humour though, even in the darkest moments. Reflections on a funeral directors lacklustre attempt to recreate the deceased mother’s make up and a running joke about the posh camp delivery of the narrator provide light to balance the shade.

Director Lawrence Evans keeps the staging simple, allowing the wordplay to come to the fore and Egerton’s natural charm and rapport with the audience shine through.

This is still a preview performance prior to the Edinburgh Festival and it will be interesting to see how this openly personal tale competes with some of the wilder aspects of the Fringe offering. But for those looking for a break from the absurdity of the Scottish capital this August, an hour in the company of Egerton will provide a strong dash of nostalgia and an opportunity to reflect on the true meaning of familial relationships.

Written originally for The Public Reviews

Review: Henry V - Latitude Festival, Henham Park

‘May we cram, within this wooden O….’ For the Latitude Festival, Theatre Delicatessen take the wooden reference to the extreme – taking to the Henham woods for an open air performance, split across two days.

It gives the production an air of a military camp, as soldiers mingle among the audience, lines suddenly being delivered next to you. Their original production make have taken place in the BBC’s former headquarters in London but there’s a valiant attempt to make the piece work alfresco.

Despite good intentions, it’s not a successful transportation. The decision to break the action just before the pivotal battle of Agincourt robs the second section of vital dramatic tension and the modern day setting, doesn’t always sit comfortably in the new setting.

The main issue with this staging though is projection.

Latitude’s outdoor theatre can be a challenging environment for a classic play, having to compete with noise from some of the festivals musical stages, but productions such as The Gate’s staging of Electra last year prove that it can be a captivating setting. Here sadly, many of the lines are lost by actors who seem unable to provide that extra level of projection needed for an outdoor performance. The decisson to also spread the action out among the trees also means sections are both inaudible and out of sight.

There are some notable exceptions though to the projection issue. Philip Desmeules’ Henry easily convinces as the charismatic monarch, while Alexander Guiney’s Chorus provides the glue holding the entire action together.

The second section shows some lessons had been learnt from the first half but while it’s a brave telling of Shakespeare’s state of the nation play, the technicalities let the overall whole down.

Written originally for The Public Reviews

Review: Circa - Latitude Festival, Henham Park

Circa’s self-titled show should come with a health warning. The feats that these seven Brisbane based artists perform induce a feeling of pain just watching. One can’t help think that the human body shouldn’t be able to endure the things these talented acrobats inflict on themselves.

The seven-strong company takes us on a physical, but also personal,  journey. There’s no through narrative as such but there’s a strong feel that we are looking at an examination on what it means to be human, our loves, life and the pain our bodies go through.

A mix of acrobatics, contortion, aerial work and dance, the piece is a constantly shifting visual feast. There’s also though a more subtle edge to the piece, with the company imbibing each section with heartfelt emotion and expression. It’s a punishing performance, necks, limbs and torso put under extreme pressure that would send untrained performers straight into A&E. There’s also grace and beauty though as balance and control create fragile tableaux.

There’s a real mix of circus styles and disciplines but these meld into a beautiful and uplifting whole. It is also clearly an equal opportunities company as a female performer finds herself as the support for a male counterpart balanced on her head. Before any complaints of sexism are raised, she later exacts her revenge balance precariously in red sequined stilettos on the bare chest of a man.

Music, lighting and staging combine with the physical feats on stage to create a wholly engrossing evening. The rapturous response from the capacity festival audience clearly demonstrated the admiration of the skill on show. A fitting showcase for the impressive skills of these Antipodean Acrobats.

Written Originally for The Public Reviews

Review: White Rabbit, Red Rabbit - Latitude Festival, Henham Park

There’s a tricky dilemma in reviewing Nassim Soleimanpour’s White Rabbit, Red Rabbit. While by its very nature, live theatre differs slightly in each performance, here the uniqueness is a key part of the concept.

Soleimanpour has some ground rules. The actor must not have performed the show before, is asked not to research the play beforehand and, apart from a couple of instructions given to them 48 hours prior to the show, know nothing of the piece until they are handed the script in a sealed envelope at the start of the performance. It becomes something of an adventure for both performer and audience as both are orchestrated remotely by Soleimanpour.

To give much detail of plot would defeat the concept of joint discovery by performer and audience but suffice to say we take an increasingly dark and disturbing journey into conformity, control and culpability.

The ‘poor actor’ for this performance is stand-up comic Marcus Brigstocke, perhaps a suitable choice for a lively festival audience. Brigstocke’s comic credentials certainly come in handy as he weaves the audience into the unfolding drama, his improvisation skills adding somewhat to the planned 70 minute running time.

As the script becomes darker though, so Brigstocke’s delivery becomes more reflective and by the conclusion you feel that what may have initially seemed a comic prospect has delivered a more serious punch.

Solemimanpour’s script is far from perfect, the comic and serious alternation not always sitting comfortably and at times detracting from the message trying to be delivered. It is, however, an important piece that plays with theatrical conventions to deliver a thought provoking piece. There also can’t be any other shows around that invite the audience to email the author mid show!

Written originally for The Public Reviews

News: Bury St Edmunds venues consider single management team

A proposal is being investigated to set up a trust to run the apex and the Theatre Royal in Bury St Edmunds through a single management team.

The trust would retain the unique identity of both venues, but make significant efficiency savings through a single management team, shared box office and marketing.

The results of the review have been the basis of discussion between St Edmundsbury Borough Council, (which owns the new apex venue), and the board of trustees of the Theatre Royal.

The Theatre Royal board agreed the proposal to share management in principle on 9 July. St Edmundsbury's Cabinet will make consider the proposal at its meeting on 25 July.  If approved, work on the detailed business plan will take place over the summer, and form the basis of a final decision, to be made in the autumn.

Cllr Sara Mildmay-White, St Edmundsbury Borough Council Cabinet member for Culture and Sport thinks the move could help create place Bury St Edmunds at the heart of the regions cultural map; “The vision for the apex was to provide a first class venue for residents and to attract visitors to the town. We are very pleased with how it has established itself in its first two years and this two year review argues that the way forward is to position Bury St Edmunds as the premier cultural destination in the region."

For Brian Stewart, Chairman of the Board of Trustees of the Theatre Royal the business model for closer working, with the Apex is one that makes sense on several areas: "Bury is extremely fortunate to have a fine historic theatre, and an excellent new music and entertainment venue, and this new partnership will mean an even better arts offer for local residents and visitors, and Bury punching above its weight locally, regionally and nationally.  The existing apex and Theatre Royal brands will be maintained, but with closer working and realising efficiency gains we can improve the quality of what we can offer, and invest in better box office services, catering, other facilities, technical, and sales and marketing support.’