Tag Archives: Giles Taylor

Shakespeare in Love

reviewed at the Cambridge Arts Theatre on 5 November

It’s a delectable piece of froth which, as is only natural with its authorial pedgree, has mixed in some solid pieces of intellectual know-how to give it crunch as well as sweetness. This stage version by Lee Hall of the Stoppard-Marc Norman film script works splendidly in its own right.

As befits a co-production originating from the Bath Theatre Royal, director Phillip Breen has assembled a large cast deliberately brought into close quarters by Max Jones’ revolving set with its balcony and steep staircase. Tudor London was an over-crowded milieu; privacy was a luxury at any level of society.

You probably know that the action begins with would-be dramatist Shakespeare (Pierro Niel-Mee) experiencing a bad attack of writer’s block. His alter-ego Marlowe (Edmund Kingsley) has no such problem. Lurking around the floorboards, playing his own games (and all sides against each other), is teenage Webster (Jazmine Wilkinson) – not a nice child.

Niel-Mee gives us a rounded portrait of a young man beset by deadlines from theatre managers who know that they want (and think the public does also) as well as bills and family responsibilities he’s endeavouring to keep at a distance.

Imogen Daines is Olivia, a merchant’s daughter about to be traded into marriage with Lord Wessex Bill Ward),  but yearning to be a actress – or should that be, actor? They make a thoroughly enjoyable hero and heroine, though it’s Olivia who in the end has to pay the heaviest price.

Swaggering the whole length of his gleaming red-clad legs is Edward Harrison’s Burbage (eventually cast most appropriately as Mercutio. Kingsley is his saturnine equivalent; their ends even echo each other.

Giles Taylor as Tilney, Master of the Queen’s Revels) doubles that increasingly frustrated functionary with the part of Olivia’s father. Rob Edwards and Ian Hughes make much of Fennyman and Henslowe respectively. Ashley Gale makes much of a stuttering player.

Also catching the eye – and the ear – are Geraldine Alexander doubling Viola/Juliet’s nurse and the imperious Elizabeth I (given an impressive entrance in the second act through the audience), Rowan Polonski’s Ned Alleyne, Ward’s Wessex and the musical score by Paddy Cunneen.

All in all, this touring production in partnership with Eleanor Lloyd is a thoroughly enjoyable antidote to the dark, dank days of late autumn and early winter.

Four and a half-star rating.

Shakespeare in Love continues at the Cambridge Arts Theatre until 10 November as part of a national tour with matinées on 8 and 10 November.

 

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King Charles III

(reviewed at the Arts Theatre, Cambridge on 19 October)

Original verse dramas are thin on the ground when it comes to the 20th and 21st century. The iambic pentameter doesn’t necessarily echo contemporary speech fashions, though Christopher Fry’s The Lady’s Not For Burning managed it successfully. Now Mike Bartlett’s “future history” play King Charles III joins the select band.

This production by Rupert Goold is currently on a national tour en route to Broadway. It began life at London’s Almeida Theatre with a different cast and has been revised and updated during its 18-month life. The set by Tom Scutt – a semi-circle of brick walls bisected horizontally by a Byzantine-style frieze of royal forebears – might serve equally well for one of Shakespeare’s history plays. Elements of the plot reinforce this.

Bartlett postulates the accession to the British throne of the present Prince of Wales. There is an early clash with convention, as the new king (Robert Powell) insists on having weekly meetings not just with his dour Welsh Prime Minister Evans (Tim Treloar) but with the infinitely more pliable Leader of the Opposition Stevens (Giles Taylor).

Meanwhile his younger son Harry (Richard Glaves) is churning up the local clubs and bars, in the course of which he meets Jess (Lucy Phelps). His heir William (Ben Righton) is concerned for the future of the monarchy and comes over as increasingly dominated by his wife Kate (Jennifer Bryden), who has more than a slight whiff of Lady Macbeth in her attitude to her husband.

A key factor in Goold’s production is the vocal score by Joceyn Pook, using texts from the Catholic liturgy (“Agnus Dei and “Dies irae”) to haunting effect. There’s an actual ghost as well – Diana (Beatrice Walker), whose message (like so many from supernatural sources) is ambiguous. This is a Delphic oracle definitely not to be trusted.

Interestingly, it is Taylor and Bryden who sound most at home with the blank verse format. Powell’s performance gives us a man of principles, capable of exercising his royal perogative and of listening – but not perhaps heeding. As the next generation takes over, Charles grows in stature to become a true tragic hero (more Shakespearean echoes).

Comedy? yes, certainly as the audience response demonstrates. Tragedy? possibly, if you can define that as a man who brings about his own destruction. Reality? who knows?

King Charles III runs at the Arts Theatre, Cambridge until 24 October. It can also be seen at the Theatre Royal, Norwich between 14 and 19 March 2016.

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