Tag Archives: Ricky Dukes

The Changeling

The Changeling

★★★½

Southwark Playhouse

THE CHANGELING at Southwark Playhouse

★★★½

The Changeling

“a slick, stylish, and refreshing take on a Renaissance play”

Tinny Italian pop music, a mini-fridge full of champagne, and, in the centre of the stage, a long wooden boardroom table surrounded by high-backed chairs. ‘The Changeling’, Middleton and Rowley’s 17th-century play, adapted and directed by Ricky Dukes, takes place entirely in this boardroom (designed by Sorcha Corcoran), with the cast in mid-century dress (excellently created by Alice Neale). The play follows Beatrice-Joanna (Colette O’Rourke), who, betrothed to a man she does not love, seeks to murder her fiancée. When Beatrice enlists the help of her servant De Flores (Jamie O’Neill), who is as obsessed with her as she is disgusted by him, both are drawn into a complex current of desire and murder.

Originally featuring a parallel plot set in a madhouse, this production bravely subsumes the comedic subplot into the tragic main plot but retains a semblance of the madhouse setting for the second act. While it scraps their storyline, the production also retains the madhouse inmates, here recast as The Patients, the house band who interrupt the tragic proceedings to croon wedding-singer style, bounce mega-balloons around the audience, and bathe the stage in disco lighting.

The production is a slick, stylish, and refreshing take on a Renaissance play. The staging is often particularly impressive, and manages to do a lot with very little, thanks in large part to Stuart Glover’s stunning and, at times, very complex lighting design. Even though the boardroom table never moves, we get everything from catacombs to fire. One particularly impressive scene sees De Flores and Alonzo (Alex Bird) descending into the castle vaults, lit cleverly by headlamps worn by the rest of the cast to create the illusion of tunnels.

The influence of Daniel Fish’s dark staging of ‘Oklahoma!’ is evident, with Jamie O’Neill, who is excellent, bringing a wounded and vulnerable desperation to De Flores’ sinister perversity, which very nearly gleans our sympathy. Refusing to cast De Flores as purely revolting and imagining him instead as someone who Beatrice might mutually desire works very well.

“stylish and unflaggingly entertaining”

It would be possible for the cast to lean even further into this fruitful dynamic, were they given a more intimate space. Instead, the interruptions of The Madhouse, though occasionally well-placed, are frequently distracting. All eleven cast members are on-stage almost constantly, navigating around the boardroom table which, while stylish looking, never feels necessary and is instead mostly a hindrance. Taking up almost all available space, it means that most scenes take place with actors entirely separated by a large piece of wood. This dampens some of the sinister sensuality and is a shame in a play that is essentially about desiring bodies.

The best parts of this play come, instead, when the production leans into sparser staging, and leverages the uncanniness of the space. One moment, where De Flores and Beatrice kneel together on the table in the centre of the chaos created, is particularly powerful.

Frequently, however, the play expends too much energy in the wrong places, and, as it reaches its tragic climax, becomes almost claustrophobic. By the end, the audience must contend not only with the table, but also with eleven cast members, fake blood, confetti, and two types of balloon.

Paradoxically, less to do would give the excellent cast more to work with. However, despite the lack of breathing room, this is a stylish and unflaggingly entertaining production. The ‘excessive’ aspects also undoubtedly most engage the audience, and Lazarus is, after all, a company designed to do exactly this.


THE CHANGELING at Southwark Playhouse

Reviewed on 10th October 2023

by Anna Studsgarth

Photography by Charles Flint


 

 

Previously reviewed at Southwark Playhouse:

Ride | ★★★ | July 2023
How To Succeed In Business … | ★★★★★ | May 2023
Strike! | ★★★★★ | April 2023
The Tragedy Of Macbeth | ★★★★ | March 2023
Smoke | ★★ | February 2023
The Walworth Farce | ★★★ | February 2023
Hamlet | ★★★ | January 2023
Who’s Holiday! | ★★★ | December 2022
Doctor Faustus | ★★★★★ | September 2022
The Prince | ★★★ | September 2022
Tasting Notes | ★★ | July 2022
Evelyn | ★★★ | June 2022

The Changeling

The Changeling

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Hamlet

Hamlet

★★★

Southwark Playhouse Borough

HAMLET at Southwark Playhouse Borough

★★★

Hamlet

“a workable and reasonably successful ensemble production”

 

This production from Lazarus Theatre Company reduces Shakespeare’s longest play to a concise one hundred minutes, performed without an interval, by axing all the adult characters. No Claudius, no Gertrude, no Polonius…

The work was initially created as part of an actor in training programme, and the production fails to escape these origins. It still looks and feels like an actor’s workshop rather than a finished piece of theatre. Part of this is deliberate: the setting is an unspecified young person’s space: part drama studio, part therapy group, part corrective training establishment.

The theatre space (Designer Sorcha Corcoran) is stripped back to its black walls exposing the lighting bars, the floor is scuffed with just some fresh blue lines marking zonal space providing some colour. A circle of blue plastic chairs and two props cabinets are the only set. The lighting (Designer Stuart Glover) is often blue too giving some ambience, whilst brighter light from the side bars causes shadowing issues.

An ensemble of nine actors is summoned into the circle by the ringing of a bell. Everyone is dressed in blue sweatshirts, tracksuit bottoms and training shoes. Each is invited to tell their story by an unknown amplified voice (Micha Colombo). This is the method by which Shakespeare’s plot is moved forward; at key moments the voice informs the young people of activities by the missing adults, or of offstage action not seen (“Hamlet has killed Polonius”). The amplified voice becomes an unseen presence with characters looking fearfully upwards, knowing that everything they do is observed. Is this voice then a helpful counsellor or Big Brother?

Central to almost every scene, Hamlet (Michael Hawkey) dominates the action. The remaining ensemble is pushed to the cramped sidelines, slightly but not completely out of the light. Hawkey grows into his role as the play progresses, but the need for speed often impairs the clarity of his diction. Noise from the wind machine and electronic sound effects mask the spoken word in the appearance of old Hamlet’s ghost – although Horatio (Alex Zur) boasts some fine vocal quality – and the occasional use of a handheld microphone with its inherent pops and bangs jars, particularly in Hamlet’s “To be or not to be” soliloquy. The effectiveness of choral speaking during the Ghost scene is also marred by the amplified sound.

Director Ricky Dukes keeps the actors primarily at a distance as if intimacy between them is not permissible. Hamlet interrogates Rosencrantz (Amber Mendez-Martin) and Guildenstern (Raj Swamy) from the full width of the stage, and again when Hamlet berates Ophelia (Lexine Lee) with “Get thee to a nunnery”. Lee plays her role in an effectively calm manner. When she leaves the stage pursued by a handheld camera, TV screens show her movement through the backstage corridors to her untimely and bloody end in a toilet cubicle.

A comic Players’ scene (Kiera Murray and Juan Hernandez) is nicely done and Kalifa Taylor shines in her lone dramatic rendition. Laertes (Sam Morris) lacks sufficient anger on hearing of Ophelia’s fate but a slowmo sword fight (Fight Direction Alice Emery) between him and Hamlet provides an effective way of staging the final scene.

What is achieved then in this radical rethink of how to present Hamlet is a series of vignettes held together by the framing device of the Voice. This cast, the majority of whom are appearing in their first professional production, all require a little more polish and the production is rather rough around the edges. Considering the loss of so many key roles, though, Lazarus has produced, perhaps surprisingly, a workable and reasonably successful ensemble production.

 

 

Reviewed on 18th January 2023

by Phillip Money

Photography by Charles Flint

 

 

Previously reviewed at this venue:

 

Operation Mincemeat | ★★★★★ | August 2021
Yellowfin | ★★★★ | October 2021
Indecent Proposal | ★★ | November 2021
The Woods | ★★★ | March 2022
Anyone Can Whistle | ★★★★ | April 2022
I Know I Know I Know | ★★★★ | April 2022
The Lion | ★★★ | May 2022
Evelyn | ★★★ | June 2022
Tasting Notes | ★★ | July 2022
Doctor Faustus | ★★★★★ | September 2022
The Prince | ★★★ | September 2022
Who’s Holiday! | ★★★ | December 2022

 

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