“Her witty modern-day lyrics are reminiscent of the work of Lin-Manuel Miranda”
“All the world’s a stage, and all the men and women merely players”. Those immortal words the Bard penned in his rustic comedy, As You Like It, seem as true as ever in this recent musical adaptation of the play which makes its European debut. Produced by Queen’s Theatre Hornchurch in partnership with the National Theatre’s Public Acts, a national initiative to make inclusive, community theatre, it brings a one hundred-strong cast from all walks of life together to create this vibrant version which is unlike any other production of As You Like It you will have seen.
In a condensed telling of Shakespeare’s tale we find Duke Senior (Rohan Reckord) has been banished from the court by his brother Duke Frederick (Curtis Young), finding solace and a new home within the Forest of Arden, where many of his supporters begin to converge and take commune. In paranoid rage, Duke Frederick lashes out at anyone that threatens his authority, including his niece, Rosalind (Ebony Jonelle), who is exiled. Taking on a male disguise, she similarly flees to the Forest of Arden bringing in tow her cousin Celia (Marjorie Agwang), and the trusty clown Touchstone (Vedi Roy). However, before her banishment, Rosalind falls head over heels in love with Orlando (Linford Johnson) whom she must conceal her true emotions from when their paths cross again in the forest.
The original songs that interject this adaptation, help to flesh the characters out further, giving their actions and motives more depth. Composed by American Shaina Taub, she is certainly a name to listen out for in the future. Her witty modern-day lyrics are reminiscent of the work of Lin-Manuel Miranda and help to give a nearly 400-year old story a current relevance.
This may be a community project, but by and large the main characters are played by trained actors. Stand outs include the incredibly watchable Ebony Jonelle who offers a vivacious Rosalind, whilst Vedi Roy as Touchstone delivers the sassiest clown in town. Rohan Reckord has such a smooth voice it will undoubtedly give you goosebumps when he sings.
Nevertheless, it is the amalgamation between the trained actor and the ‘average Joe’ that really is something special, proving that a passion for theatre is what truly wins out and that anybody has a right and the capability to perform on stage. During the colossal group scenes, it is nigh impossible to not feel moved seeing a broad range of people of all ages, abilities, cultures, and backgrounds coming together. The sheer joy that beams from the stage is infectious. The carnival-like atmosphere and colourful costumes (Hayley Grindle and Daisy Blower) make it a party you never want to leave.
“there are several original touches that bring a freshness of interpretation to Antic Disposition’s take on the Scottish Play”
Macbeth is about many things, but it begins and ends with a battle. Antic Disposition has chosen a particularly appropriate, though challenging, setting for their latest production of one of Shakespeare’s greatest tragedies.The Temple Church is an ancient building, long connected with warriors, from the Templars of the Crusades who gave the church its name, to the veterans of both world wars. The long, narrow, bare boards stage, designed traverse style by John Risebero stretches the length of the central aisle, with lighting hung at either end. It is a powerful space, and the actors use it well, but from the audience’s perspective, it is problematic. Firstly, because observing the action is rather like being at a tennis match, where one’s head whips back and forth to follow the players, and secondly, because the church, like all churches of this period, was designed to echo. This works well for the polyphonic sacred music of the twelfth century, but for the interactions between Macbeth’s dramatic characters, in highly complex language, often exchanged in the heat of battle — not so much. It is a problem that this production never quite overcomes, despite the ingenious staging.
That said, there are several original touches that bring a freshness of interpretation to Antic Disposition’s take on the Scottish Play. For example, director Ben Horslen makes the witches an essential part of the whole show by using them as servants as well. This means they are nearly always present on stage in some capacity, and often working their magic while going about domestic tasks. This makes intuitive sense, and avoids the hackneyed stereotypes of grizzled old women sitting in isolation on blasted heaths. By contrast, the witches in this production (portrayed by Robyn Holdaway, Bryony Tebbutt and Louise Templeton) are active and versatile — a combination that adds to their importance in Macbeth’s story. Their continued presence emphasises their power, and adds significance to the way in which they catch the ambitious Thane of Glamis in their diabolical traps. The Victorian themed costume designs of Hanna Wilkinson make the witches nicely unobtrusive in their servant roles as well.
The leading roles are competently managed with stand out performances by Nathan Hamilton as Malcolm (also doubling as a Murderer) and Peter Collis as Banquo (also doubling as the Doctor). Harry Anton, as Macbeth, partly solves the problem of the echoing Temple Church by lowering his voice and speaking more slowly and with great clarity. This technique works to great advantage with the soliloquies. He is partnered by Helen Millar as Lady Macbeth, who does her best with the most challenging role in this play, but this is a somewhat hesitant performance that fails to connect with the ruthless force that must drive Macbeth to murder. The Victorian theme of the costumes works less well for the leading characters, in particular during the fight scenes. The choice of daggers rather than swords makes the final confrontation of Macbeth and Macduff, for example, a more muted affair. But by the final scenes, the deepening gloom of the evening skies outside the Temple Church add nicely to the flickering candlelight within the church. It is a fittingly crepuscular conclusion to Antic Disposition’s production of Macbeth.
