Tag Archives: Robert Mountford

The Habit of Art

reviewed at the New Wolsey Theatre, Ipswich on 8 October

When does a poet or composer know when he has come to the end  of his powers? Is it the brain or the body which dictates the time? Does he just lay down his pen and opt for garnered laurels in a comfortable semi-retirement?

That’s the issue in Alan Bennett’s The Habit of Art, a play within a play focusing on poet WH Auden and composer Benjamin Britten at the end of their days. The fictional playwright has made Humphrey Carpenter (biographer of both Auden and Britten) into a framing device.

We’re in a typically chaotic rehearsal room Adrian Linford is the designer) with the stage manager standing in for the absentee director and the intense young author of Caliban’s Day increasingly paranoid about what the actors are doing with his carefully honed script.

Not only is the elderly actor playing Auden missing cues and needing endless prompts, but a couple of the younger cast members feel that they can bring more, much more, to the characters they play.

You can see why this is not one of Bennett’s most revived plays, but it rewards attention, as much as to what is unspoken as to what is actually said. Neither poet nor composer feel that their long-term partners (Kallman and Pears respectively) are as supportive as they want (or indeed, need).

The actors taking these parts, as well as the satellite cast, are equally dissatisfied in their individual ways. So Matthew Kelly’s superb Auden accepts his comfortable sinecure at Christ Church, Oxford while Fitz (the actor playing him) settles for supermarket voice-overs.

Donald, who takes the Carpenter rôle (John Wark), wants to build up his part. Auden’s rent-boy Stuart (Benjamin Chandler) feels that he also can add something to the production. Robert Mountford’s Neil, the playwright, just wants his script to be performed uncut with the emphases which he, not the director, dictates.

Trying to hold it all together are no-nonsense company stage manager Kay, to whom Veronica Roberts gives precisely the right combination of sympathy and authority and ASM George, played by Alexandra Guelff as a dogsbody with yearning to perform.

In the background until the second act is David Yelland’s Henry, playing Britten. He knows that Death in Venice will be his swan-song in many ways, a paean to vanished youth and the brightness of expectations. It’s a remarkable, unselfish performance, suggesting layers of masking as well as built-up sadness.

Director Philip Franks makes all Bennett’s tiers of make-belief and sadness credible for an audience which is not necessarily fully conversant with Auden’s or Britten’s work. You do need to concentrate, but that’s a good thing in the theatre. After all, all life’s a stage.

Four and a half-star rating.

The Habit of Art runs at the New Wolsey Theatre, Ipswich until 13 October with matinées on 10 and 13 October. The tour also includes the Cambridge Arts Theatre (29 October-3 November) and the Palace Theatre, Westcliff (19-24 November).

Leave a Comment

Filed under Plays, Reviews 2018

Macbeth
(reviewed at the Theatre Royal, Bury St Edmunds on 14 April)

It’s a long time since I’ve heard such an intelligently-spoken version of Macbeth as Jactinder Verma’s new touring production for Tara Arts in association with Queen’s Hall Arts and Black Theatre Live. The Asian-flavoured staging, full of bear-foot stylised movement against Claudia Mayer’s stark metallic setting (adorned only with the changing portraits of Scotland’s fighting rulers) and accompanied throughout by Rax Timyr’s side-stage percussion.

The three weird sisters, all glittering saris and oiled beards, are played as hijras, India’s legally-recognised third gender community dating bak thousands of years. John Afzal, Ralph Birtwell and Deven Modha suggest a self-satisfying mischievous malevolence as they prophesy for Robert Mountford’s Macbeth and Mitesh Soni’s Banquo.

Shakespeare’s text is given in a very full version and its verse flows easily. Mountford’s Macbeth, a warrior nobleman hitherto suppressing – if indeed he ever has previously recognised – the ambitions which will leads him so inexorably to his destruction, is a marvellously full portrait. Shaheen Khan matches him as Lady Macbeth, all the more frightening because she never rants or raves at full blast; controlled menace in action.

Shalini Peiris plays Lady Macbeth’s maid, doubling as the porter (with a very funny “equivocation” monologue) and the doomed Lady Macduff. Birtwll contrasts Dauncan and the doctor while Modha takes on (with excellent contrast) the three sons – Malcolm, Fleance and Macduff’s heir. Umar Pasha is a stalwart Macduff while that thinking general Banquo comes over as quietly authoritative in Mitesh Soni’s interpretation.

Macbeth runs at the Theatre Royal, Bury St Edmunds until 18 April and at the Key Theatre, Peterborough on 28 and 29 April.

Leave a Comment

Filed under Plays