Tag Archives: Amy Mae

THE FROGS

★★ ½

Royal and Derngate Theatre

THE FROGS at the Royal and Derngate Theatre

★★½

“There’s some good and not-so-good slapstick, physical theatre and an all-round quirkiness.”

Spymonkey set out to update Aristophanes’ three-thousand-year-old play – historically, the first staged comedy and use of a comedic double act – and make it relevant to today. They have poignant reasons to do so and these are reflected in a sub-plot that runs parallel to the original. The new version is written by Karl Grose and Spymonkey “with massive apologies to Aristophanes” and is directed by Joyce Henderson.

The stage is set with an array of boxes and crates and paraphernalia. A revolve is set off-centre which is used primarily for comedic effect. A circular mirror is suspended from above, upon which an impressive moon image is occasionally projected (Lucy Bradridge, set & costume designer).

Spymonkey regulars Toby Park and Aitor Basauri are semi-god Dionysus (sporting a fine pair of Cothornos platform sandals – a nice touch) and servant Xanthias who undergo a trip to the Underworld to recover the poet Euripides. To help them on their way, they receive advice from hero Heracles (Jacoba Williams in a fetching muscled body suit with male accoutrements). So far so good, but then our heroes fall into “a scene between the scenes” and find themselves squeezed into a cupboard – the Spymonkey office – and from now on as they continue their interminable journey they slip in and out of their Greek characters and into a character-version of themselves. Jacoba takes on a variety of tentacled, flippered and multi-headed creatures for the heroes to overcome whilst doubling in the here-and-now as an American theatre impresario interested in producing the new show. The whole thing is very meta. But it’s also rather a mess.

Of course, there are laughs a plenty. Aitor is an exceptional clown and, as the Spymonkey dynamic duo establish themselves, he proves himself an able Lou Costello to Toby’s Bud Abbott. But there is too much: the running gag of Aitor’s ass (hee-haw), knowing winks to the audience, asides, adlibs. There’s some good and not-so-good slapstick, physical theatre and an all-round quirkiness. Jacoba tells us that the whole thing is as mad as a box of… well, you know… just as the plot dissolves into a psychedelic acid trip.

Spymonkey themselves mock the length and tedium of Aristophanes’ original monologues and character-Aitor tells us several times that he doesn’t like the ending of the play because it isn’t funny. It’s not a good omen for the second half.

Worthy of mention is the community chorus – the highlight of the show – who techno-tap-dance across the stage in fluorescent yellow cagoules as the frog chorus (Simone Murphy, choreographer). It’s a shame that this happens only the once but then Aristophanes set the precedent for that. Ribbit.


THE FROGS at the Royal and Derngate Theatre

Reviewed on 24th January 2024

by Phillip Money

Photography by Manuel Harlan

 


Previously reviewed at this venue:

2:22 A GHOST STORY | ★★★ | January 2024
THE MIRROR CRACK’D | ★★★ | October 2022
THE TWO POPES | ★★★★ | October 2022
PLAYTIME | ★★★★ | September 2022
THE WELLSPRING | ★★★ | March 2022
BLUE / ORANGE | ★★★★ | November 2021

THE FROGS

THE FROGS

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When We Dead Awaken

When We Dead Awaken

★★★★

The Coronet Theatre

 When We Dead Awaken

When We Dead Awaken

The Coronet Theatre

Reviewed – 5th March 2022

★★★★

 

“Bang-Hansen’s elegant direction is right at home in the Coronet’s beautifully restored interiors”

 

When We Dead Awaken is Ibsen’s last play, and the master was very well aware of that as he was writing it. In consequence, it has a distinctly different tone to his earlier, better known works such as An Enemy of the People, Hedda Gabler, and A Doll House, to name just a few. The language in When We Dead Awaken shifts between the lyrical and the brutal. The play is haunting, and also elusive in its final, elegiac notes. Added to all that is the chance to see the play acted (mostly) in Norwegian, performed by (mostly) Norwegian actors. These are just some of the features that make this production, by The Norwegian Ibsen Company with the Coronet Theatre in Notting Hill, a highlight of the still evolving 2022 theatre season in London.

When We Dead Awaken begins slowly, but (spoiler alert) like the avalanche which makes its appearance at the end of the play, its gathering power draws you in and holds you fast, even in the knowledge of certain obliteration. And as always in Ibsen’s plays, the endings are not up for sunny reinterpretations. Viewed in this way, the confrontations between an aging artist, Arnold Rubek (Øystein Røger), his young wife Maia (Andrea Bræin Hovig), and his muse, Irene (Ragnhild Margrethe Gudbrandsen) take on a mythic quality as they struggle to decide what is more important. The life of an artist? The work of art itself? Is it worth giving up a chance of family and children to pursue your art? What happens if you become successful, but still feel something lacking in both art and life? What happens if success feels like death? Into this mix of conflicting situations, we can be pretty sure, Ibsen is pouring the accumulated frustrations of his own life as an artist. But there’s always at least one wild card in play in Ibsen’s dramas, and this arrives in the form of a bear hunter named Ulfhejm (James Browne). It’s Ulfhejm who separates the unhappy couple. It’s the crude and brutal hunter who entices Maia away from her husband, and, ironically, gives the artist one last chance to reconnect with his muse, Irene. And it is Ulfhjem who entices them all up the mountainside where revelations and endings come together in surprising, but somehow appropriate ways.

Kjetil Bang-Hansen’s elegant direction is right at home in the Coronet’s beautifully restored interiors and its surprisingly spacious stage. His actors move with assurance around a set design by Mayou Trikerioti that evokes fin de siécle decay —the wreckage of an excessive past spilling out on stage where no one can ignore it any longer. With some deft sound design and music by Peter Gregson, it’s easy to get drawn into a space where resort hotels become remote mountainsides in a subtle change of lights (Amy Mae.) Special mention should also be made of the ease with which the Norwegian actors manage this difficult play in two languages. Listening to a play in a language one doesn’t know is always revealing. In this production of When We Dead Awaken, Norwegian sounds clipped and precise. The lyrical struggles a bit, but then it should. And every so often the unfamiliar becomes familiar again as English words peek through the Norwegian in odd pronounciations, reminding us that modern English retains more than a few Norwegian words. Andrea Bræin Hovig and Øystein Røger establish a palpable sense of tension in their scenes in Norwegian together, which contrast nicely with the scenes in English when Irish actor James Browne is on the stage. The subtitles, when necessary, are discreetly projected onto a curtain upstage.

The main disappointment of this production is — you guessed it — the avalanche. But it is hard to argue with Kjetil Bang-Hansen’s pragmatic choice to have the avalanche always on stage, in a sense, in Mayou Trikerioti’s set design. So there is no dramatic movement on stage at the end of the play. The actors simply narrate the final moments. On the whole, this production of When We Dead Awaken shows itself up to the challenge of Ibsen’s last drama. It cleverly avoids falling into the traps that Ibsen has set for the overconfident theatre maker.

 

Reviewed by Dominica Plummer

Photography by Tristram Kenton

 


When We Dead Awaken

The Coronet Theatre until 2nd April

 

Recently reviewed at this venue:
Le Petit Chaperon Rouge | ★★★★ | November 2021

 

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