The Two Noble Kinsmen

by William Shakespeare and John Fletcher

seen at Shakespeare's Globe on 31 May 2018

This collaborative play, not included n the First Folio of Shakespeare's collected works, has gained inclusion in modern 'complete' editions, but it is still rarely performed. Barrie Rutter directs Bryan Dick as Arcite, Paul Stocker as Palamon, Ellora Torchia as Emilia, Francesca Mills as the Jailer's daughter, Moyo Akandé as Hippolyta and Jude Akewudike as Theseus in a production that makes a strong case for the play's revival.

The story, used also by Chaucer in his Knight's Tale, concerns the cousins Arcite and Palamon, both tken prisoner by Theseus when he defeats their uncle, and both recognised as valorous men even in captivity. Their intense friendship is broken when both fall in love with Emilia (Hippolyta's sister, Theseus's sister-in-law). In a trice their earnest protestations of eternal loyalty and blissful satisfaction in the joys of amity are forgotten and they are (or want to be) at each other's throats. Theseus releases Arcite to banishment, but he determines to remain close to Emilia despite his peril. The jailer's daughter, in love with Palamon, arranges for his escape but falls into a madness when he ignores her. The two cousins meet again in the forest and decide to fight for Emilia's love; they are interrupted by Theseus and his followers who are out hunting, and the king decrees a formal combat and compels Emilia to accept that the winner will be her husband and the loser will lose his life.

As You Like It

by William Shakespeare

seen at Shakespeare's Globe on 30 May 2018

Federay Holmes and Elle While direct Jack Laskey as Rosalind, Bettrys Jones as Orlando, Nadia Nadarajah as Celia, Pearce Quigley as Jacques and Helen Schlesinger as both Duke Senior and Duke Frederick, with support from others in the company, in this new production paired with Hamlet (reviewed earlier this month). As in Hamlet the casting is 'gender-blind' with some very interesting and amusing results. In particular, though a number of male Rosalinds have been seen since Adrian Lester's beguiling performance in the 1990s, it is unusual to have a female Orlando. In fact, Jack Laskey himself took the part in the Globe's 2009 production opposite Naomi Frederick's Rosalind.

The Grönholm Effect

by Jordi Galceran

seen at the Menier Chocolate Factory on 26 May 2018

B T McNicholl directs Jonathan Cke, Greg McHugh, Laura Pitt-Fulford and John Gordon Sinclair in this Spanish play (translated by Anne Garcia-Romero and Mark St. Germain) which recounts an interview process for an executive job in a high-flying but unspecified business. In this version the interview is taking place in New York, but the American setting is not crucial.

The four characters discover that this, their fourth round interview, is to be conducted jointly, which strikes them as odd. It soon becomes clear that the interview process itself is unconventional, as instead of meeting a panel, or even a single person, the four are presented with a series of tasks and challenges, the instructions arriving impersonally in envelopes addressed to one or more of them which appear in a mysteriously opening drawer at appropriate times.

Mayfly

by Joe White

seen at the Orange Tree Theatre on 17 May 2018

Guy Jones directs Simon Scardifield as Ben, Irfan Shamji as Harry, Evelyn Hoskins as Loops and Niky Wardley as Cat in this first play by Joe White.

Once again the Orange Tree Theatre has produced the goods. Interestingly, this is another play in a rural setting dealing with devastating loss, but it is quite different from Nightfall which I saw recently at the Bridge Theatre, and, in my opinion, more satisfying. The explanation for the strange behaviour of Ben, his wife Cat and daughter Loops is not clear until late in the play, but in this case the withholding of information is not nearly as contrived (in terms of the world of the play) - not least because the fourth character is initially a stranger to them all - even Loops's claim of prior acquaintance turns out to be fleeting. While all three of members of this family behave oddly, not to say at the extreme end of credibility, the atmosphere of the play allows us to take everything on trust while awaiting further revelation. When it comes, the result is almost unbearably poignant.

Hamlet

by William Shakespeare

seen at Shakespeare's Globe on 15 May 2018

Another Hamlet - could this be possible after two visits to the excellent Almeida production last year? Fortunately the play is almost inexhaustible, and even though this is the third production I have seen performed at Shakespeare's Globe, I agreed to the suggestion of some friends visiting from Australia who wanted to see it and to experience this special theatre.

Federay Holmes and Elle While are directing a company performing both Hamlet and As You Like It concurrently, aware that they are two plays newly written for the original Globe within a year of each other. There is considerable 'gender-blind' casting, in this case with Hamlet, Horatio and Laertes played by women - Michelle Terry, Catrin Aaron and Bettrys Jones respectively - and (perhaps more unusually) Ophelia played by a man - Shubham Saraf, who also takes the small part of Osric. Claudius (James Garnon), Gertrude (Helen Schlesinger), Polonius (Richard Katz) and other parts are more predictably cast, though interestingly Guildenstern (Nadia Nadarajah) signs in BSL while Rosencrantz (Pearce Quigley) takes on all the speaking lines of the pair, signing to his friend to clear up the no doubt fumbling attempts of the Danish courtiers to sign for themselves.

Nightfall

by Barney Norris

seen at the Bridge Theatre on 10th May 2018

Laurie Sansom directs Ophelia Lovibond a Lou, Sion Daniel Young as Ryan, Ukweli Roach as Pete and Claire Skinner as Jenny in this new play about a Hampshire farming family (Jenny and her children Lou and Ryan) still numbed by the loss of the husband and father; Pete is a friend of Ryan's from their early schooldays, subsequently romantically involved with Lou.

The scene (designed by Rae Smith) is the yard space outside the farmhouse - neither the ground nor the house is particularly attractive, subverting the cosy urban view of idyllic pastoral life. In fact, a gigantic oil pipe snakes across the stage, providing both an image of rural despoliation and the trigger for the expression of dangerous tensions between all he characters - the play opens with Pete and Ryan installing a hosepipe to divert some of the oil into the farm's fuel tank without Jenny's approval.

The Writer

by Ella Hickson

seen at the Almeida Theatre on 9th May 2018

Blanche McIntye directs Romola Garai, Michael Gould, Lara Rossi and Samuel West in an often dazzling play examining the fraught business of writing for the theatre complicated by the difficulty (or even the impossibility) of a woman exerting artistic freedom in a male-dominated world.

The play begins with a young woman, a member of the audience of a play evidently just finished, engaging in a conversation with an older man who has some position in the theatre. It seems an accidental encounter, and the woman is at first unwilling to stay back and talk, but she soon delivers an impassioned speech about the corruption of theatre by monied interests, and she also objects to the too-easily patronising attitude of the man.