Tag Archives: Richard Baker

As You Like It – 5 Stars

Reviews, , , , , , , , , , , , , , ,

Squares

As You Like It

Arundel and Ladbroke Gardens

Shakespeare in the Squares 

Reviewed – 26th June 2018

★★★★★

“Tatty Hennessy’s perception and imagination bring this production alive”

 

Love and music, freedom and flares! The gardens of London become the Forest of Arden in this brilliantly updated version of ‘As You Like It’. By setting the production in the late 60s, early 70s, director, Tatty Hennessy, transfers the essence of Shakespeare’s pastoral, romantic comedy to the hippie era with its optimistic ideas of free thinking, breaking rules and getting away from conformity. In addition, it underlines the strength of his women characters, complementing the positive female spirit of the play by changing the genders of Jaques and the Dukes and generating a mother-earth forest community, supportive and nurturing.

The excellent performances by the whole cast bring vibrancy and shade, several members having two or three roles to portray, creating texture and fluidity with an array of well-defined figures; Stanton Plummer-Cambridge and Lamin Touray excel in this multitasking.

Set against a background of growing feminism, the women are unapologetically feisty and demanding in their pursuit of life and love. The enamoured Rosalind, in a spirited performance by Katharine Moraz, takes control of her destiny, accompanied by Comfort Fabian’s Celia, whose genuine enthusiasm is astutely modernised in movement and speech. Phoebe (Emmy Stonelake) and Audrey ((Jodie Jacobs) are beautifully unabashed and determined in procuring their hearts’ desires, and Julia Righton steps assuredly between good and evil as both Duchesses. Sian Martin plays Jaques with a cynical sneer, perfectly counterbalancing the enjoyment and love for life which surrounds her. And up against all this feminine zeal, Orlando (Jack Brett) is the picture of bemused, love-struck youth. A special mention for Sydney K Smith’s ‘Motown’ Touchstone, who encapsulates the foolish image, moves and talk of those disco days (which some of us remember!), while wholly attuned to Shakespeare’s words.

The importance of music in ‘As You Like It’, being Shakespeare’s most musical play, naturally lends itself to the 70s ambiance of the early music festivals which blends into the parks and gardens milieu and draws the audience into a convivial atmosphere. The stylish singing which sets the scene and the diverse incidental songs and instrumental music (Richard Baker) show an added facet to these talented actors. Simple, colourful decor (Emily Stuart) immediately conveys a feeling of rustic celebration and the casting (Becky Paris) allows for a balanced variety of accents which add depth and clarity to the characters.

Tatty Hennessy’s perception and imagination bring this production alive with relevance to those years not so far gone and to today’s similar issues of inequality and oppression. The changes of era and gender have sense and purpose, showing the fortitude and quality of women and the need to escape authority, but also the timeless quest for love and happiness. ‘As You Like It’ is the perfect end to a sunny summer’s day…or any other day.

 

Reviewed by Joanna Hetherington

Photography by James Millar

 


As You Like It

Shakespeare in the Squares

 

 

Click here to see more of our latest reviews on thespyinthestalls.com

 

 

Iolanthe – 4 Stars

Reviews, , , , ,

Iolanthe

Iolanthe

Richmond Theatre

Reviewed – 16th May 2018

★★★★

“There is an assured originality to Regan’s take on the proceedings”

 

Following on from ‘HMS Pinafore’, ‘The Pirates of Penzance’ and ‘The Mikado’ Sasha Regan continues with the winning formula of an all-male cast with her revival of “Iolanthe”. The triumph of this concept is that it transcends the ‘gimmick factor’ of men trying to be girls. Instead, each member of the fine cast fully inhabits their character, irrespective of gender. While remaining faithful to the spirit of Gilbert and Sullivan, there is an assured originality to Regan’s take on the proceedings.

Torches flash in the darkness of the auditorium as a motley crew make their way to the stage as though breaking into an old schoolhouse. They discover an old copy of Gilbert and Sullivan’s “Iolanthe”, from where the journey through the absurd and gloriously silly story begins. Twenty-five years previous to the action of the opera, Iolanthe, a fairy, had committed the capital crime of marrying a mortal. The Queen of the Fairies, however, commuted her sentence to banishment, on condition that Iolanthe leave her husband and never see him again. Her son, Strephon, now twenty-five has grown up in the mortal world despite being half fairy and is engaged to marry Phyllis – the ward of the Lord Chancellor. But being a mere shepherd, he is not thought worthy by Phyllis’ guardian. Further mayhem ensues when Iolanthe, who has not aged in the quarter of a century, has her exile revoked and is reunited with her son.

As haywire as Gilbert’s libretto is, it is juxtaposed with perhaps the most beautiful of Arthur Sullivan’s scores. This combination makes for a compelling evening. Musical Director, Richard Baker provides the sole accompaniment at the piano, a device that highlights the melodies and allows the voices to take centre stage. That said, though, there were moments that begged for a more varied sound track to stir up the dynamics. But what it lacked in light and shade was compensated for by the quality of the singers. Close your eyes for a moment and it is easy to forget that this is an all-male cast. There is a purity to the finely tuned falsetto that is genuinely moving.

Christopher Finn’s ‘Iolanthe’ has an extraordinary quality to his voice that stands him out, despite having a lesser share of the spotlight than the title character merits. But it is very much an ensemble piece; and each actor, whether in the male or female registers handle the harmonies and the quick-fire patter of the lyrics with ease. And all this marvellous singing is done with their tongues firmly in their cheeks. Only a top notch team can afford not to take itself too seriously in such a relaxed manner. Mixing a fairy story with political satire is always going to be a tall order but this show wins us over with its own eccentric mix of magic and mastery.

 

Reviewed by Jonathan Evans

Photography by Harriet Buckingham

 

Richmond Theatre

Iolanthe

Richmond Theatre until 19th May and touring

 

 

Click here to see more of our latest reviews on thespyinthestalls.com