Tag Archives: Pamela Raith

Macbeth

★★★★

Wilton’s Music Hall

Macbeth

Macbeth

Wilton’s Music Hall

Reviewed – 23rd January 2020

★★★★

 

“a gritty, unfurling tragedy filled with constant movement and action”

 

Scotland’s war-torn landscapes were Shakespeare’s original setting for Macbeth, providing an air of bleakness fitting to a story about a thane who kills his king. Stepping forward in time, this production finds a new current of bleakness to build upon, with dull building facades and army fatigues – all tacked over with a sheen of glitz and glamour, such as the sleek tux and red dress Macbeth and Lady Macbeth wear to crow over their newly-won court. Overall, the Watermill Theatre’s production is a worthy version of the tale, thick and heavy with atmosphere.

The play opens with war, as Billy Postlethwaite’s moody Macbeth greets not the usual ethereal witches, but looming soldiers fresh from the battlefield, who violently prophecise that he shall be king. But the dull underbelly of war is always there throughout the play, even in later scenes of revelry. When triumphant Macbeth and Banquo (Robyn Sinclair) return from war to Lady Macbeth (Emma McDonald), it follows them in the form of ominous throbbing guitar chords and solemn drumbeats. Growing darker throughout the play, especially after the couple murder their king Duncan (a warm-hearted portrayal by Jamie Satterthwaite), these musical touches serve to accentuate the mental anguish of our protagonist and other troubled characters.

The whole play is moody – an aesthetic that draws you in and can be credited in large part to the music and scenery. The musical elements (directed by Maimuna Memon and performed by the company) are an impressive feat; they start off hesitantly but by the end become so omnipresent that you begin to wonder how the play would have functioned without them. Featuring classics such as The Rolling Stones’ ‘Paint It Black’, the song choices are fitting throughout, involving minimal singing and working best as background ambience.

Clever scenery and set design (Katie Lias) casts an intentional shadow over the proceedings. Perhaps the neon lights over Macbeth’s reimagined hotel residence fading to read just ‘hel’ is a little on the nose, but the greying pockmarked building that dominates the stage acts as a nice metaphor for Macbeth’s initial feelings of impenetrability. Lighting (Tom White) is also deployed well against the monochrome backdrop to show blood, battle, and the bright trees of Birnam wood.

While the actors in some cases take a little while to warm up to their roles, the play does offer some new interpretations of familiar characters. Postlethwaite’s Macbeth is reminiscent of a troubled warrior from fantasy media, and while Mcdonald’s Lady Macbeth comes across a little overbearingly posh at the start, she grows to become more developed. Lucy Keirl also does well with the relatively minor role of the reoccurring hotel porter. All round, the performances from the rest of the company (Molly Chesworth, Peter Mooney, Lauryn Redding, Tom Sowinski, and Mike Slader) are generally good and grow with the thickening atmosphere.

Pairing brooding music with the already dark subject-matter, director Paul Hart has created a gritty, unfurling tragedy filled with constant movement and action (credit also to movement designer Tom Jackson Greaves). Watching this adaptation of Macbeth promises to be a dramatic evening indeed.

 

Reviewed by Vicky Richards

Photography by Pamela Raith

 

Macbeth

Wilton’s Music Hall until 8th February

 

Last ten shows reviewed at this venue:
Dad’s Army Radio Hour | ★★★★ | January 2019
The Good, The Bad And The Fifty | ★★★★ | February 2019
The Pirates Of Penzance | ★★★★ | February 2019
The Shape Of the Pain | ★★★★★ | March 2019
The Talented Mr Ripley | ★★★★ | May 2019
The Sweet Science Of Bruising | ★★★★ | June 2019
Old Stock: A Refugee Love Story | ★★★★★ | September 2019
This Is Not Right | ★★★★ | October 2019
Much Ado About Nothing | ★★★★ | November 2019
Christmas Carol – A Fairy Tale | ★★★★ | December 2019

 

Click here to see our most recent reviews

 

Rags

Rags

★★★

Park Theatre

Rags

Rags

Park Theatre

Reviewed – 14th January 2020

★★★

 

“Maitland’s vocal control in particular is quite staggering, bringing a coiled strength to the small auditorium.”

 

Often described as the sequel to ‘Fiddler On the Roof’, ‘Rags’, originally written by Joseph Stein (who did also write ‘Fiddler’) enjoyed only four days on Broadway in its 1987 debut. Regardless, it was nominated for five Tony awards that year. But, more baffling still, it has never been brought back to the stage, that is, until now.

Revised by David Thompson and directed by Bronagh Lagan, ‘Rags’ tells the story of Jewish immigrants making their way to America at the turn of the twentieth century. Among the boatloads of hopefuls is Rebecca (Carolyn Maitland), with her son David (as played by Jude Muir for this performance), who, without any family or a nickel to her name, is determined to succeed in this new promised land.

As with most sequels, ‘Rags’ has loosely the same narrative arc as its predecessor: A community of traditional Jews fights off the outside world on multiple fronts, be it via assimilation, persecution or modernisation. Certain familiar characters re-appear as well. Ben (Oisin Nolan-Power) for example, a nice but nerdy tailor seeks the affections of Bella (Martha Kirby) whose father, Avram (Dave Willetts) disapproves of the union. I mean, why not just call them Motel and Tzeitel and have done with it.

But ‘Rags’ does depart from ‘Fiddler’ in its sheer volume of historical content, including everything from the 1909 Shirtwaist strikes and the Triangle Shirtwaist Factory fire to the emergence of feminism, the rising popularity of Yiddish theatre and song writing, and culture clashes, not only between different ethnicities and religions, but also first and second-wave immigrants. In order to include all of this, every character symbolises a school of thought, be it capitalism or communism, traditionalism or modernisation. And this leaves little room for any of the characters to have any, well, character. The older generation – aunt, uncle and father – bring a little Yiddish flavour from the old country, but aside from that everyone is a bit bland.

The soundtrack (Charles Strouse/Stephen Schwartz) flits between a klezmer-ragtime fusion, and modern musical numbers. The former is accompanied by a swaggering Klezmer band wondering the stage, playing various bit-parts as they go. The small ensemble brings a tonne of humour and spirit to the production. Clarinettist Natasha Karp is a particular joy to watch, her constant facial expressions a kind of running commentary on the story’s goings-on.

The more modern numbers, however, are generally forgettable and feel mismatched with the themes of the plot.

The set (Gregor Donnelly), consisting of a wall of suitcases, and sparse furniture, provides an atmosphere of transition; of both hope and hardship. Whilst Rebecca, Bella and David have just arrived, the small apartment has been the home of multiple immigrant families before this one, and will no doubt go on to house many more after, and the set succeeds in keeping this feeling of flux throughout.

The cast themselves are gloriously talented, doing their best to inject colour and excitement to a story that drags on at least a half hour too long. Maitland’s vocal control in particular is quite staggering, bringing a coiled strength to the small auditorium.

But whilst ‘Rags’ was not intended as a direct sequel for ‘Fiddler’, it’s hard not to consider it as such and, as is often the case with sequels, it doesn’t stand up to comparison. Yes, there are a couple of catchy numbers, a couple of funny scenes, and a couple of moments of heartfelt reflection. But not enough on any count, and unfortunately this revival is less a story of rags to riches, and more rags to run-of-the-mill.

 

Reviewed by Miriam Sallon

Photography by Pamela Raith

 


Rags

Park Theatre until 8th February

 

Last ten shows reviewed at this venue:
The Time Of Our Lies | ★★★★ | August 2019
The Weatherman | ★★★ | August 2019
Black Chiffon | ★★★★ | September 2019
Mother Of Him | ★★★★★ | September 2019
Fast | ★★★★ | October 2019
Stray Dogs | | November 2019
Sydney & The Old Girl | ★★★★ | November 2019
Martha, Josie And The Chinese Elvis | ★★★★★ | December 2019
The Snow Queen | ★★★★ | December 2019
Shackleton And His Stowaway | ★★★ | January 2020

 

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