White Bear Theatre
Reviewed – 5th November 2021
“the charm and energy of the cast keep things bubbling along”
Marlowe’s Fate by Peter B. Hodges, and directed by the author, has just opened at the White Bear Theatre in Kennington. Set initially in 1593, the year of Marlowe’s death, this is yet another drama dealing with the question of who really wrote Shakespeare’s plays. Answer: Shakespeare. But Shakespeare skeptics around the world will rejoice at a new exhumation on an epic mystery that never seems to stay buried. The set up is this: what if Marlowe didn’t die in a tavern brawl in Deptford, but was, instead, spirited away to Europe as a spy for Queen Elizabeth the First and her Privy Council?
Peter Hodges has chosen to treat this material in a comic way, and it’s certainly more palatable than the alternative. Marlowe’s Fate opens in the aforementioned Deptford tavern. Present are the hired assassins, Ingram Frizer, Nicholas Skeres and Robert Poley, discussing the job of dispatching the playwright who has been dazzling London theatre audiences with his Tamburlaine and Doctor Faustus. They are regretful about having to kill him since they are fans. Marlowe himself enters, and is, understandably, a bit upset to discover that he is about to be assassinated. He is only a bit less upset to find out that his death is going to be faked so that he can continue his work as a spy. At this point, Marlowe’s Fate becomes not a play about Marlowe’s mysterious death, but instead, a play about his eventual return from Europe (if ever). But to Marlowe the playwright, the more important question is this: how he can continue to write, and get his poems and plays out to his adoring public? Well, you guessed it. Enter an uneducated, unsophisticated glover’s son named Will’m Shaxper (sic) from Stratford upon Avon, looking for work with a local printer.
I won’t provide spoilers for this Marlovian/Shakespearean romp except to say that it has a little bit of everything. “Everything” including a rather wonderful impromptu puppet show featuring the Annual Shakespearean Author’s Challenge that opens the second act. As long as you are comfortable with the way that Marlowe’s Fate quickly devolves into absurdity from the few known facts about Christopher Marlowe (and William Shakespeare, for that matter), you will enjoy Hodges’ work in this spirited production. The play is overly long, and there is way too much exposition needed to explain how everything comes about, but the charm and energy of the cast (particularly Nicholas Limm as Marlowe, and Lewis Allcock as Shaxper) keep things bubbling along. As with most productions at the White Bear Theatre, “great reckonings in little rooms” are standard fare here, and the seven actors of Marlowe’s Fate don’t let the small space cramp their style. Penn O’Gara’s costumes and puppets are delightfully and economically made, and Reuben Speed’s Elizabethan tavern design feels appropriately “period.”
This is definitely a show for Shakespeare scholars seeking a break from another interminable conference, or for graduate students in search of a busman’s holiday from writing the never ending PhD dissertation. But really, Marlowe’s Fate is for anyone who enjoys a good “what if?” rather than a “whodunnit.”
Reviewed by Dominica Plummer
Photography by Benji Paris
White Bear Theatre until 28th November
Previously reviewed at this venue this year:
Reviewed – 13th February 2019
“we can almost smell the absinthe wafting through the high kicks, cartwheels and splits”
This year, in the fourth of the Union Theatre’s ‘Essential Classics’ seasons, director Phil Willmott has turned to the theme of ‘Enemies of the People’, highlighting the process by which a ruling elite can attempt to silence not just opposition but also more benign threats that come in the shape of a ‘free spirit’. History has often taught us that the privileged class does not always know what is best for the common good; an argument that comes to the fore in the new musical, “Can-Can!”.
Not to be confused with Cole Porter’s fifties musical of the same name, also set in 1890s Paris, “Can-Can!” takes us into the heart of La Belle Époque, when Paris, formally scandalised by its artistic community, began to celebrate these former outcasts. Willmott’s production, directed by Phil Setren, is brazen and brave, capturing the very exuberance of the period. A real kaleidoscope of a show, it wears its influences openly. Taking as its starting point Jacques Offenbach’s ‘Orpheus in the Underworld’, which introduced the Can-Can dance to the world, it fuses operetta with music hall and transplants it into a plot loosely based on Arthurs Wing Pinero’s ‘Trelawny of the Wells’. Onto this already rich backdrop are added the real-life cabaret characters from the Moulin Rouge (in particular Jane Avril and ‘La Goulue’) made famous by Toulouse-Lautrec’s paintings (the artist himself is also painted into the scenario).
The concept is fascinating, and inspired decisions are made. But like the assortment of source material, the show itself is a bit of a mixed bag. It takes until the second act to find its true tempo. For a musical comedy the timing sometimes slips and misses the pulse, while the rhythm of the dialogue suffers from palpitations. But the choreography does not miss a beat. Adam Haigh’s routines are simply stunning, thrillingly performed by the all-dancing cast whose energy threatens to burn a hole in Justin Williams’ and Jonny Rust’s evocative rotating set. Further aided by Penn O’Gara’s authentically flamboyant costumes, we can almost smell the absinthe wafting through the high kicks, cartwheels and splits.
The script, however, occasionally threatens to douse the fuse that is leading to the explosive finale. But luckily the spark manages to stay alight thanks to a story that bears all the hall marks of a well-structured, crowd-pleasing yarn. Jane Avril (the subtly operatic Kathy Peacock) gives up the stage when she decides to marry her well-healed sweetheart, Christian Bontoux (Damjan Mrackovich) only to find life unbearably dull, trapped in her fiancé’s austere household that detests her unrestrained personality. Escaping back to the theatre, she breaks her own heart as well as that of her beloved, who has also defied his tyrannical father in order to pursue the troubadour life.
If the action occasionally lags it is soon buoyed along by some stand out moments: the dream-like ballet sequence between Peacock and Mrackovich; or the final scenes of reconciliation during which Phil Willmott’s authoritarian character finally secures the audience’s sympathy. Secrets are revealed in some heartfelt revelations to the famous Cabaret Queen ‘La Goulue’ (a marvellously camped up performance from PK Taylor) that give us a surprising back story.
Despite a few splutterings on the way, “Can-Can!” ends with a bang and reminds us of the true intention of the piece. Which ultimately is to entertain. That it succeeds is confirmed by the exuberant hand-clapping from the audience along to the closing number.
Reviewed by Jonathan Evans
Photography by Scott Rylander
Union Theatre until 9th March
Last ten shows reviewed at this venue: