★★★★

“the interpretation is a quick-fire and vibrant rendition”

This new take on Shakespeare’s tragedy of race and jealousy comes with quite the twist: the role of Iago is played by three different actors simultaneously. The first question that comes to mind is, why? One has to suppress the faint rising wave of scepticism as the auditorium fills up around us. There is no set whatsoever, and the feeling that this might be some sort of drama exercise is foremost in our minds. It doesn’t take long, however, for this trepidation to be completely eradicated by Sinéad Rushe’s fresh take on the play.

Even without the added theatrical device (which they term polyphonic characterisation), the interpretation is a quick-fire and vibrant rendition. The empty playing space allows us to focus on the performances which are uniformly strong among this small company. With a finely honed physicality and harmony within the cast, no backdrop is needed and, indeed, with the clear-cut pruning of the text no background is needed – such is the clarity and succinctness of the delivery.

The cast are huddled around an acoustic guitar, their own bodies percussion instruments; from which Desdemona (Rose Riley) breaks away and dances unrestrained around the space. An atmospheric opening, but the one (and only) time we do question the dramatic choices.

From the off, Martins Imhangbe is an impressive and imposing Othello. His strong demeanour is quietly controlled, sometimes a touch too soft and vulnerable, before the bemused rage finally breaks through. Riley breaks away from the stereotypical Desdemona, refusing to come across as pure and meek. Instead she is self-possessed but respectful of Othello despite the incomprehensibility of his jealousy, almost to the point of tenderness. Her rendition of the “Willow” song is particularly poignant and beautifully sung. Ryan O’Doherty is a charismatic Cassio, a bit of an enigma, keeping his true feelings under wraps beneath a trusting exterior. Not so Emilia, Iago’s wife, whose distrust and fiery outspoken cynicism is brought to vivid life in Rachel-Leah Hosker’s striking performance.

“This is a show where atmosphere is predominant”

Which brings us to Iago, and the focal point of the production. During the performance, though, the reasoning is immaterial. It ceases to be a question as it works so well dramatically. Michael C. Fox, Orlando James and Jeremy Neumark Jones are all exceptional. Individual, yet merging into one character; they are both a chorus and a trio of separate characters. They become co-conspirators, negotiating among themselves. They surround their victims, sometimes in whispers, sometimes in storms. The effect is often chilling as one man’s voice can be heard echoing in triplicate from three different spaces. Iago no longer addresses the audience, which in turn increases the impact. It is a complex and risky scenario, but in the three actors’ hands it is pulled off to immense effect.

The threatening and menacing atmosphere is sustained throughout by Ali Taie’s percussive and sinister soundscape, along with Alex Lewer’s starkly effective lighting. This is a show where atmosphere is predominant, even though we are invited also to consider the racial and political reasoning behind Rushe’s choice of the three Iago’s. Traditionally Iago draws the audience in and coerces them into being complicit in Othello’s downfall. This is no longer the case. Yes, we are aware of the device but not on an intellectual level. It is a thrillingly innovative approach, but we are so wrapped up in the performances that we forgo analysis in favour of relishing each moment, right up to the tragic and, in this production, quite plaintive ending.

FLOWERS FOR MRS HARRIS at the Riverside Studios

★★★★

“Jenna Russell slips into the title role as though it was tailor made for her, giving a performance that is as strong as it appears unassuming”

It takes its time, but the moment the curtain comes down on Mrs Harris you’ll be purring like the cat who has had more than its fair share of cream. As she stands centre stage with the memory of her late husband, we realise that the gaping hole in her heart has been filled, in the same way that ours are overflowing with warmth, born of the simple acts of kindness, love and selfless compassion. When Paul Gallico’s the novella – “Flowers for Mrs Harris” – was first published in 1958 its dust jacket read; ‘This is, if you like, a fairy tale. But of its enchantment, humour and pathos there can be no doubt… it will be loved for many years to come’.

Similar words would not be out of place in the programme notes for Richard Taylor’s and Rachel Wagstaff’s musical. Set in London during the 1950s, Ada Harris (or ‘Arris as she would say) is a hard-working cleaning lady whose clients range from eligible bachelors and society women to actresses. While cleaning for Lady Dant, Mrs Harris opens a wardrobe to discover an Haute Couture Dior dress. Enamoured and overwhelmed, she decides then and there that she will have one of her own. After a modest Football Pools win and two-and-a-half years of scrimping, her desire is achievable.

But this is never really about the dress. It is all about the human spirit. Ada Harris’ journey to Paris and back is not a material voyage, nor even a pilgrimage. It is a personal quest – of triumph over adversity and the discovery of qualities we all seek and do in fact possess if we look hard enough. This is very much brought out in Bronagh Lagan’s tender revival of the musical. Jenna Russell slips into the title role as though it was tailor made for her, giving a performance that is as strong as it appears unassuming. Old school charm is the name of the game here. Russell’s performance is a delicacy whose rich flavours linger long after curtain call.

“a sumptuous production, with Richard Taylor’s lush score eking out every emotion”

It is a quality that is shared by the whole company. While Russell is the main thread, the ensemble double up as characters from Ada Harris’ London life and also their French counterparts in Paris. There is almost a ‘Wizard of Oz’ aspect to this parallel world where the characters are distinct yet recognisable. Hal Fowler is magnificent as the reassuring ghost of Ada’s late husband, later appearing as the widowed French Marquis who finds common ground with Ada’s yearning humour. Charlotte Kennedy is truly watchable as the London based aspiring actress and the disillusioned Parisian model. It seems unfair not to be able to list them all, but mention must go to Nathanael Campbell as Bob the lovesick, shy accountant whose character is mirrored in Paris by André who finds love courtesy of Ada’s spirited intervention. Annie Wensak gives a colourfully nuanced performance as Ada’s best friend, fellow char lady and next-door neighbour Violet.

Kelly Price is the deliciously haughty yet compassionate Lady Dant, whose dress sparks off the whole story. As Madame Colbert, the troubled manager at the House of Dior, her performance is as polished as the House of Dior itself. Initially snubbing the unwelcome Ada, she and other Parisian personalities swiftly come under the spell of Ada and her magic wand. If anything, though, it is too quick and easy and the transformation of the staff at the fashion house a little hurried, which stands out in an otherwise slow-burning narrative. But it is a sumptuous production, with Richard Taylor’s lush score eking out every emotion. Seamlessly weaving in and out of the dialogue it is the essential flow that keeps the characters’ hearts beating.

Yes, this is ‘if you like, a fairy tale’. And we are in no doubt about its enchantment. A touch sentimental and safe maybe, but the warmest and most comforting antidote you could find for the oncoming autumnal evenings. Oh, and a hidden star of the show that can’t be avoided: Sara Perks’ costumes would walk proud on any Parisian catwalk*.

*The Dior gowns in the show were kindly loaned by Lez Brotherston from the original production

OTHELLO at the Riverside Studios

★★★★

“the interpretation is a quick-fire and vibrant rendition”

“This is a show where atmosphere is predominant”

OTHELLO at the Riverside Studios

Reviewed on 6th October 2023

by Jonathan Evans

Photography by Mark Douet

Previously reviewed at this venue:

Othello

Othello

FLOWERS FOR MRS HARRIS at the Riverside Studios

★★★★

“Jenna Russell slips into the title role as though it was tailor made for her, giving a performance that is as strong as it appears unassuming”

“a sumptuous production, with Richard Taylor’s lush score eking out every emotion”