In Antic Disposition’s production of Shakespeare’s Richard III, in which the villainous monarch-on-the-make plots and murders his way to the crown, London’s Temple Church lends an added imposing majesty to the heady drama.
Although, maybe not so villainous. Toby Manley’s Richard, described by Shakespeare as a “bottled spider,” is depicted as far more chirpy than despicable in the first half, and this despite the fact that most of the scenes move too fast for many of his jokes to land. Nevertheless, the acting is excellent across the board, especially Bryony Tebbutt in her three roles as Lady Anne, the Duke of York and the Murderer, and the mood soon darkens in a thrilling second half.
The staging is also well done. Light is used in brilliantly creative ways: a shadow will fall upon the audience when a character (usually, and aptly, Richard) appears on the opposite end of the stage from where our attention is directed. Characters off-stage pace around the back of the seats. The pared back use of sound effectively invokes the dread and terror of the court and the battlefield.
All of this culminates in a brilliantly atmospheric and taut drama. That it could have used a tad more pace in the first half does not detract from the excellent and gripping denouement.
Golem! returns to the Hope Theatre with a brand new take on Much Ado about Nothing. Using only the original text, David Fairs reimagines the story and depicts an alternative, previously untold dark comedy. I Know You of Old unpeels the intricate relationships between Beatrice, Benedick and Claudio.
Set for its entirety in the Chapel where the poor, mistreated Hero is laid centre stage ensuring that although she is dead, she cannot be forgotten
Conor O’Kane plays a guilt-stricken and remorseful Claudio. Why did he accuse Hero of such treachery when he knows deep down she wouldn’t have been capable of it? He sets out to atone for his sins. David Fairs is perfect for the role of sharp witted playboy Benedick. He commands the tiny set, engaging the audience with the strength of his delivery. Sarah Lambie as the savvy, intelligent Beatrice cleverly switches from scornful and indifferent to coquettish and seductive without missing a beat. All three deliver superb performances with an intensity that could easily transfer to a larger stage.
Director Anna Marsland gives the play a contemporary feel with the use of iPads, iPhones and social media – which with a bigger budget could probably be used to greater effect! The use of music here certainly added to the comedy value of the show – the choice of songs was a stroke of genius!
A prior knowledge of Much Ado probably enhances what you take away from this play but the reworking of the original text means that it can be watched as a stand alone performance too.
