We Are Animate presents a smart and snappy Shakespeare – all the power and plotting of the Bard’s historical tragedy in under 90 minutes. The eight strong gender-blind ensemble excels throughout in words and movement. The poetry is clearly spoken with just one Lord misjudging the ability of the intimate space to carry her overly sotto voce delivery. Director Lewis Brown moves his cast well using some dramatic dumb-show elements and funky dance moves between the scenes. A soundtrack (Jordan Wilkes) of disco beats and ambient noise (plus a short snatch of Zadok the Priest) blends well to create mood. The production is beautifully lit too (Jack Channer); an ominous blood-red wash across the space as the audience files in suggests the course of the evening is predetermined.
There is no escaping the importance of the symbol of the hollow crown for it is painted brightly on the movable set blocks and upon the backdrop. A stylish crown – regal and powerful – whilst, at the same time, jaunty and cartoonish.
Which might also go towards describing the King himself. Michael Rivers is a dazzling Richard II dressed to kill in a white suit, crown upon his head. When dressed for war he dons a Superhero breast plate; it’s all for show. He points, gesticulates, swans and shimmies his way around the stage, pouts when displeased. Around him are the Court In-Crowd: the fawning Bushy (Daniel Takefusa), out of sorts Queen Isabella (Nada Babikir), and father and son Duke of York (Lizzy Dive) and Aumerle (Harriet Barrow) both dressed in striking red. Hilary Burns stands out in the role of party pooper John of Gaunt – passionate in the sceptred isle speech – and then doubles as a reliable Bishop of Carlisle. [Note to Stage Manager – please provide Carlisle with a more convincing Bible]. But when Richard exploits the death of Gaunt by depriving Gaunt’s son of his inheritance, he lives (and dies) to regret it.
Enter Richard’s nemesis, Henry Bolingbroke. Fleur De Wit is superb in this role; her femininity a juxtaposition from the manliness we might expect. We see her brain ticking overtime as Henry manoeuvres into position to usurp the crown. By her side is the cold and calculating Lord Northumberland (Daniel Ghezzi) whose sinister delivery judges the atmosphere just right.
This is a cracker of a Shakespeare production. Each scene is lifted by the performances of Rivers and De Wit, ably supported by a strong ensemble. There is ample theatricality within the direction but the emphasis on the poetry shines through. I would happily watch this Richard II again.
“a very watchable piece of theatre that is intimate in exploring its far-reaching topics”
Three months into their relationship, Bradley and Lex are ready to christen it. However, there’s more than just first-time jitters getting in the way. Romance, intimacy and identity cook from the inside out in Tom Wright’s well-written comedy about our baggage in the bedroom. Not to give too much away but the storytelling is full of treats. Even though there aren’t any twists per se, every plot point, from whose bedroom we’re in to whose life’s at threat are threaded subtlety into Bradley and Lex’s back-and-forth.
Lex and Bradley, at times, evoke the same affection you have towards Louis and Prior’s in Kushner’s Angels in America, and I do not say that lightly. Both pairs, are intelligent gay men who know all too well the strains and threats on their community but are in disagreement on how, or if, they should take arms against the issues. And like Angels, Undetectable is unmistakably made for the stage.
Wright leavens the conflicted morals of his play through some very funny dialogue. Whilst shrewd and well observed, this showed his skill at turning phrases and pacing punchlines, more than it did his strength at giving unique voices to his characters. Perhaps it wasn’t his aim, because his choices ultimately work to the play’s credit; helped in no small part by two towering performances from Lewis Brown and Freddie Hogan.
Director Rikki Beadle-Blair MBE and the players have brought to life a vivid tapestry of labels, masks and brave-faces. The moments of roleplay between the lovers are utterly enthralling to watch exploring the theatre in lovemaking itself, through a play-within-a-play dynamic that all at once amuses and, quite frankly, creeps you out (especially during a teacher-student fantasy). Brown and Hogan take on their parts with nerves of steel, not once missing a beat in a physically gruelling and exposing performance.
In a play like this, a pinhole in any of these elements sinks the ship completely. And whilst there aren’t any holes in Undetectable, there are a few open windows. There’s a distinct lack of stakes between Lex and Bradley. Once the roles are established, the play spins out entirely predictably. A switch in style in the final third was welcomed, and well executed, but didn’t shift from the fact that despite many threats of walk-outs, we knew it would be happily ever after. Perhaps it’s because certain emotional junctures aren’t given space to breathe. At one point Bradley emotively talks about what the spectre of a positive HIV diagnosis can do to the mind, in one of the play’s finest moments, but is undercut by Lex talking about his drug uses. Moments like these were rushed and could have done with more unpacking. A little quiet would have gone a long way.
Despite this, Wright has created a wonderful romantic relationship and Beadle-Blair has crafted a very watchable piece of theatre that is intimate in exploring its far-reaching topics.
