Let’s take a moment to savour this: David Tennant as Richard II directed by Greg Doran. There have been rumours for a while but lately the discussion has been louder and it seems it will happen: David Tennant will play Richard II at the Royal Shakespeare Company some time in late 2013 or early 2014, under the direction of Greg Doran in the new artistic director’s first season. David Tennant is in no small part responsible for my theatre obsession the last few years and my excitement for this news is unfettered. I will be clearly spending the next eighteen months dreaming of the Deposition Scene and who will play Bolingbroke. Chiwetel Ejiofor is my choice. It’s perfect and it needs to happen. Continue reading
“Is love a tender thing? It is too rough. Too rude, too boisterous, and it pricks like thorn.” At its best, writing a review is my attempt to stay a little longer in the world of the production. Not to explain or dissect, but to stay in a place that I loved. A Tender Things is such a place. Ben Power’s retelling of Shakespeare’s Romeo and Juliet, with an old couple facing the only inescapable tragedy love deep into old age can face, is indeed a tender, magical, deeply moving and ultimately joyous thing.
Ben Power rearranges Shakespeare’s text into a new world, but words carry the memory of young love and language leaves space for unspoken sorrows to live. Richard McCabe and Kathryn Hunter, under the direction of Helena Kaut Howson, create a world of two people, a world so complete and perfect, that the ending is the natural and only possible conclusion. (In Shakespeare’s play, the tragedy is there are many solutions to the problem, but none is taken and the story ends in death. In A Tender Thing, the tragedy is the characters have to face the end in the full knowledge that there is one possible conclusion).
Kathryn Hunter, with her vital physicality, gives her Juliet an extraordinary spectrum of emotional and physical life, even as she wastes away. Richard McCabe lives the joy of love and the tragedy of parting with heartbreaking openness. He pulls, pushes, struggles with his glasses like these actions could give an end to his pain. When he gives into it, everything about him crumbles. Their spoken interactions are teasing, silly, warm but their true emotional life is in their physical connection: in one scene Romeo tries to support Juliet who, literally, slips away from him. His distress and resolve reflects everything that is at stake. Continue reading
This August continues to be slow for theatre (after all, we have all been focusing on other exciting events), but casting and other news are hotting up. Here is what caught my eye this past week:
- Rumour is the National Theatre’s Christmas show at the Olivier will be Arthur Wing Pinero’s The Magistrate, starring Nancy Carroll and John Lithgow. Farce plus one of my favourite actresses, roll on Christmas. (It will replace the previously announced, and then cancelled, production of The Count of Monte Christo). Update 18/11/2012: Having seen one of the early previews of the production, you can read my review here.
- Director Jamie Lloyd launches his own production company in association with the Ambassador Theatre Group. The announcement of this new commercial theatre venture comes not long after Michael Grandage announced his West End season of five plays chock full of big names (Simon Russell Beale, Ben Whishaw, Judi Dench, Daniel Radcliffe). Although my wallet undoubtedly suffers when I have to pay West End prices, it’s healthy to have commercial theatre that feels exciting.
- A couple of years ago, the Royal Shakespeare Company produced and toured Ben Power’s play A Tender Thing, a new way of looking at the story of Romeo and Juliet. I was sad to miss it then, but the play returns at the RSC this autumn, this time with two of my favourite actors, Richard McCabe and Kathryn Hunter. Not missing it this time.