Tag Archives: Hostry Festival 2017 Norwich

The Eagle Has Two Heads

reviewed at the Hostry Festival, Norwich on 25 October

This rare Cocteau revival uses the classic Ronald Duncan translation, first heard in London in 1948, four years after the play’s Paris première. Duncan was a literate playwright, poet and librettist, whether translating, adapting or creating afresh; perhaps he is due for a revival.

Stash Kirkbride has staged it in an arena format, which is admirably suited to a drama (here a melodrama in both senses of the word with Ivan McCready’s cello accompaniment) which is basically a sequence of gladiatorial confrontations. The stage is furnished only with tables and chairs.

Cocteau’s use of characteristics from two well-known monarchs of the previous century whose lives created their own fantasies, rendered some of these concrete and met untimely ends – the Empress Elisabeth of Austria and King Ludwig of Bavaria , both scions of the Wittelsbach dynasty – adds its own veiled dimension to the story.

The first act has as its centrepiece the Queen (Tracey Catchpole)’s lengthy tirade (in the proper French sense of the term) justifying her abrogation of responsibility in favour of building castles after the assassination of her husband to her own would-be killer.

He’s a young, anarchist poet, Stanislas (Adam Edwards), whose pen nane is Azrael, the Muslim angel of death. Edwards has a chance to make his own tirade in the second act, and takes it.  Another confrontation is between Lucy Monaghan as Edith de Berg, the Queen’s lady (and government spy) and Christopher Neal’s Duke of Willenstein, the royal equerry.

But the evening is dominated by Catchpole, who displays the right sort of inbred arrogance which in part gives the character such interest. One can believe that she was devoted, in her own fashion, to her husband and that his assassination triggered her strange combination of building mania and veiled seclusion.

Her two meetings with Peter Barrow’s Chief of Police, a slightly cuddlier version of Sardou’s Scarpia but just as dangerous in his ruthless attempts to command the kingdom as he thinks both proper and necessary have the necessary bite, just as her relationship with Stanislaus emphasises how both of them (to paraphrase) are in love with needless death.

Tawa Groombridge makes the Queen’s servant Toni, who communicates with her mistress by sign language and is barely tolerated by her more aristocratic superiors , into a silent symbol of a place and time which has outlived itself. Amanda Greenaway’s costumes for the Queen are eye-catching in colour and material, but I feel a trim riding-habit would have suited the third act better than breeches and hacking jacket.

Part of the irony is that the first production of Cocteau’s play took place in 1944, when Paris was liberated from the dual tentacles of the Nazi occupation and the Vichy régime. But Cocteau always did spin his own, uniquely personal weave of fantasy laced with irony.

Four star rating.

The Eagles Has Two Heads runs at The Hostry, Norwich Cathdral until 29 October.

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Anglian Mist

reviewed at the Jubilee Hall, Aldeburgh on 30 September

People, and places, are not always what they seem. Take the National Trust nature reserve at Orford Ness. Nowadays it’s home to all manner of wildlife; from the First World War to the height of the Cold War, it harboured military research and latterly Anglo-American radar development.

Time, place and people form the fabric of Tim Lane and Cordelia Spence’s Anglian Mist, Stuff of Dreams Theatre Company’s autumn tour. On one level it’s a spy story, one in which nobody is ever quite what he or she appears to be. On another, it’s a study in corrosion, personal as well as physical.

We begin with one of those over-prepared academic lectures. Matthew Barnes is Valentine Scarrow who delivers it until he is interrupted by an elderly member of his audience. Adrienne Grant plays Anna Rees and the flashback sequences which follow take us through the past history of the three main characters from the 1970s onwards.

As well as Rees and Scasrrow, this story has a third man. That is Yevgeny Markovich, Russian born and English educated. The lives first of  Rees and Markovich, then of Scarrow, entwine, separate and to a large degree strangle themselves, like some noxious but nearly non-eradicable bindweed.

it’s very well acted, particularly by Grant and Turner, in Spence’s production which slow-motions the scenes of violence and interrogation to good effect. Molly Barrett and Julia Pascoe Hook are the designers with music and sound by Lane. It’s a story stripped down to its bare bones and the look of the production reflects this.

Four star rating.

Anglian Mist tours East Anglia until 25 November including performances at the Public Hall, Beccles (4 October), the Fisher Theatre, Bungay (5 November), the Seagull Theatre, Lowestoft (14 October), at the Hostry Festival, Norwich (24 October) and the West Acre Theatre (3 November).

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Filed under Plays, Reviews 2017