I’ve returned home from my Shakespeare week, a five-day adventure in Stratford-upon-Avon, seeing four Shakespeare plays at the Royal Shakespeare Company. It was a very interesting week, with four great performances, and meetings with the renowned Shakespeare scholar Stanley Wells, and two actors from the current RSC productions, Pippa Nixon and Alex Waldmann. (I’ll be posting a review of the fourth play I saw, All’s Well that Ends Well, along with interviews with Stanley Wells and Pippa Nixon and Alex Waldmann soon.)
It was an interesting week. Stratford-upon-Avon is a lovely little town, and I stayed at the Arden Hotel, which is right across the street from the RSC. The area around the RSC is delightful, with riverside gardens, and more swans and ducks than you can imagine. Here’s a picture from the RSC’s riverside café:
The RSC has two theaters: the Royal Shakespeare Theatre, which seats 1,040 people, and the Swan Theatre, which seats 460. The first play I saw, Titus Andronicus was in the Swan, and the other three were in the Royal Shakespeare Theatre. While the latter theater is twice the size of the Swan, you don’t really notice, since they both have thrust stages, with the audience on three sides of the stage. No matter where you sit, you are very close to the action.
This was a tiring week, though. With four long plays – from 2:45 for Titus Andronicus to 3:35 for Hamlet (intermissions included) – these are long evenings of sustained attention. While I’m familiar with Shakespeare’s language, I still need to pay more attention than with, say, a movie or TV series, and four plays in four days proved to be taxing. But these were four excellent productions, and I’d especially like to see Hamlet again.
So, stay tuned for more about my Shakespeare week. I’ll post a review of All’s Well that Ends Well soon, and I’ll post interviews next week.
It’s worth noting, for those too far from Stratford, that three of the current RSC productions will be touring at the Theatre Royal in Newcastle upon Tyne, from 18 October to 9 November. I’m hoping to head up there to see Hamlet again; Newcastle is actually closer to where I live than Stratford.
For day three of my Shakespeare week, I attended the big one, Hamlet. Running a total of 3:35 (with a 20-minute intermission), I can’t remember the last time a theatrical performance went by so quickly. While I tend to get antsy after a while in the theater, or when seeing long movies, this Hamlet was so gripping that it felt like it was just an hour long.
Every Hamlet is defined by the actor who plays the title role, and this production is no exception. Jonathan Slinger’s performance was breathtaking. The energy he puts into the role, and his portrayal of Hamlet’s slow slide toward tragedy, are astounding.
But this comes with a price. At times, this Hamlet seemed like a one-man show, where the rest of the cast restrained themselves in reaction to Slinger’s commanding presence. Hamlet is not on stage the entire time, of course, but even when he’s not visible, his presence is felt. The only exception to this was the parts in Act IV, when Hamlet is away to England. The scenes with Claudius, Gertrude and Ophelia had these characters become much more dynamic.
Slinger’s Hamlet is fierce and truculent. In the first scenes of this modern-dress production, he looks like an accountant, with his suit and tie, and his middle-aged glasses. (You can see this in the video at the end of this article, from Act I, Scene 2.) After he sees his father’s ghost, he changes into a fencing suit, for most of the rest of the play. (Director David Farr’s set for the play is a gymnasium, with rapiers on the walls, and lines drawn on the floor for fencing.) Slinger’s acting is very physical, showing Hamlet’s (real or feigned?) madness not only in words, but also in gestures. He hops and skips across the stage, does a Groucho Marx walk behind one character, and generally acts like a clown.
It is easy to slip into ridicule when playing Hamlet in this way, but I never felt that Slinger crossed the line. He wears his madness on his sleeve, and goes into manic excess at times, but it always seemed in character. As a contrast, Ophelia’s madness (played by the wonderful Pippa Nixon) seemed understated, almost as though it was a feminine counterpoint to Hamlet’s more effusive folly.
The production used some interesting ideas to underscore the themes of the play. At the back of the stage, on an arch, is the slogan “Mens sana in corpore sano,” a healthy mind in a healthy body. And the burial scene, which takes place at the front of the scene, leaves Ophelia’s body visible – yet ignored by the rest of the players – until the very end. The presence of her body provides an interesting context to the duel at the end of the play.
Some elements of the staging bothered me. The lighting was often dim, using neon-type lights on the “ceiling” of the fencing room. The use of music during some of the speeches was intrusive, especially as I was sitting all the way at the front, too close to the speakers (the musicians were playing above the stage, but were not visible, and the music was amplified through speakers). And why did it rain on the stage for about ten seconds at the very end?
Textually, I found it interesting that the play ended with Horatio’s lines:
Now cracks a noble heart. Good night sweet prince:
And flights of angels sing thee to thy rest!
Why does the drum come hither?
This cuts out the whole bit where Fortinbras instructs his soldiers to bear away Hamlet’s body “like a soldier.” I’ve never quite understood the point of that ending, but this choice seems ever more perplexing. Why not just end the play with Hamlet saying:
The rest is silence.
I haven’t said much about the other actors in the play, but I would like to mention Pippa Nixon, whose Ophelia was striking. I was all the more impressed having seen her the night before as Rosalind, in As You Like It. Her ability to shift between those two characters is impressive, and the way she changed from what looked to be a gawky university student (when she first comes on stage, she bears an armful of books and note books), to the mad Ophelia in a wedding dress, was stunning.
Greg Hicks was excellent as Claudius, and it was only during the cabinet scene that I realized that he was also the ghost. This was an interesting choice of casting, creating a great deal of ambiguity about what Hamlet saw (or thought he saw). But since it wasn’t obvious at the beginning, it didn’t click for me until after the play was over, when I confirmed, in the program, that it was the same actor playing both roles.
Alex Waldmann’s Horatio was very good, but he seems to have lost many of his lines. The letter from Hamlet about escaping from pirates was trimmed, and Horatio’s part seemed overall to be much shorter than usual.
But, in the end, this was Jonathan Slinger’s show. He played a convincing Hamlet, one that went very far, but never too far, and one that had me on the edge of my seat for much of the play.
Watch Jonathan Slinger in Act I, Scene 2 of Hamlet:
Last night I attended the second play in my Shakespeare week: As You Like It. After the bloody revenge of Titus Andronicus, the light-hearted comedy and love story of As You Like it was a welcome change.
Rosalind and Orlando are both unhappy in court. Orlando regrets that, being the third son of his father, he has none of the advantages of the first son, and Rosalind is not liked because she as the daughter of the Duke who had been banished. She is only allowed to stay because she is such close friends with Celia, the usurper’s daughter.
Rosalind meets Orlando at a wrestling match, and it is love at first sight. Pippa Nixon as Rosalind is goggle-eyed and Alex Waldmann is tongue-tied, as their budding romance begins a bit like a screwball comedy.
Each of the two – Orlando accompanied by his faithful servant Adam, and Rosalind by her cousin Celia – head out for new lands. Coincidentally, they both end up in Arden forest, a magical place.
Much love-making ensues, as Rosalind, dressed as a man, convinces Orlando to woo her, as if she were the Rosalind that he loves, and to whom he leaves verses on many trees in the forest. But there are other parallel love stories, with three couples. One involves Touchstone, the fool that Rosalind and Celia brought with them. Nicolas Tennant in this role is a delight, bringing comic relief to every scene he is in. Another pairing occurs between a couple of shepherds, and a fourth between Oliver, Orlando’s elder brother, and Celia. It’s a bit hard to follow, but in this production, directed by Maria Aberg, everything makes sense; as much as it can, in this play full of coincidences.
The setting of the court features people in dark suits and dresses – and thumping electronica as a soundtrack – and the forest has a ragtag band of outcasts, dressed as modern hippies, replete with acoustic guitars, to sing the songs in the play. The RSC commissioned original music by singer-songwriter Laura Marling (iTunes), which works well with the tone of the play.
But it’s the acting that stands out. Pippa Nixon and Alex Waldmann are a brilliant couple, and have true chemistry, even though Rosalind is disguised as a man. The “trick” of getting Orlando to woo her in her manly guise is but a vehicle for this Elizabethan romcom, and it works well here.
But the play drags a bit at the beginning. The court scenes, the wrestling match, and all the preparations for the two lovers leaving court, are a bit drab and slow. When they reach the forest, however, everything changes, and the pace quickens, the acting sparkles, and the actors clearly enjoy themselves. As the play draws to a close, with four weddings, and much singing and dancing, it becomes one of those magical moments in the theater where everything is just right.
I had seen As You Like It in May, and my opinion of my first viewing hasn’t changed. I had a seat in the front row for last night’s performance, at the side of the stage. Being that close to the actors allowed me to better see the brilliant comic timing of Pippa Nixon, and I also better appreciated how excellent Joanna Horton was as Celia. She was especially appreciated during a song she sings of Orlando’s verses to Rosalind; she got a rousing round of applause from the audience.
And the male actors are also excellent. Alex Waldmann has just the right amount of cluelessness as the tongue-tied lover at the beginning of the play, and the verbal skills of the more loquacious lover in the forest. And Nicolas Tennant’s Touchstone is a memorable character, who, even in a wonderful bit of dumb show following the intermission, brought down the house.
This is a delightful play, which manages to have that touch of magic that every love story contains. Most of the audience left the theatre with smiles on their faces. A wonderful time was had by all, cast and audience alike.
Watch Act III, Scene 2, with Orlando and Rosalind.
Last night, as part of my Shakespeare week, I attended the RSC’s production of Titus Andronicus. I first saw this production in June, and wanted to see it again (see this article for a review, and an audio recording of a discussion with the director and two of the leading actors).
Titus Andronicus is Shakespeare’s bloodiest play. A classic revenge tragedy, one killing leads to another, and another, and another, and the finale leads to almost everyone dying.
But reducing Titus to a body count (as the RSC does in this infographic) oversimplifies this play. In this production, directed by Michael Fentiman, one sees how Titus becomes mad following the rape and mutilation of his daughter, Lavinia. This act of violence, perpetrated by the two sons of the Goth queen Tamora – who, now the empress of Rome, is getting revenge for Titus having caused the death of her first-born son – leads Titus to take his own revenge.
Stephen Boxer as Titus Andronicus is brilliant, as he shifts from war-weary, on his return to Rome from battle, to a wounded father who has seen his daughter mutilated. Boxer’s ability to show that madness, not just in his words, but also in his actions and the way he moves, helps draw a character torn by grief, yet unable to express that grief in tears.
Katy Stephens, as Tamora, the Goth who, from being Titus’ prisoner becomes empress of Rome, is cunning and deceitful, weaving her plan for revenge throughout the play. And Kevin Harvey, as Aaron the Moor, is one of Shakespeare’s vilest characters. He doubles down on that evil in his final words, as he is buried with only his head above the ground, waiting to die of starvation:
O, why should wrath be mute, and fury dumb?
I am no baby, I, that with base prayers
I should repent the evils I have done:
Ten thousand worse than ever yet I did
Would I perform, if I might have my will;
If one good deed in all my life I did,
I do repent it from my very soul.
But the star of this production is Rose Reynolds, whose portrayal of Lavinia – Titus’ daughter, who’s hands and tongue are lopped off – is breathtaking. Having already seen the production once, I was prepared for the moment when Lavinia’s wounds are seen for the first time. She lies huddled in the center of the stage, her back to the audience, then slowly rises and turns in silence to face the spectators, and her uncle, Marcus Andronicus, standing downstage. In stark silence, Marcus recites her wounds:
Speak, gentle niece, what stern ungentle hands
Have lopp’d and hew’d and made thy body bare
Of her two branches, those sweet ornaments,
Whose circling shadows kings have sought to sleep in,
And might not gain so great a happiness
As have thy love? Why dost not speak to me?
Alas, a crimson river of warm blood,
Like to a bubbling fountain stirr’d with wind,
Doth rise and fall between thy rosed lips,
Coming and going with thy honey breath.
At this moment, Lavinia opens her mouth and blood flows down her chin, and she stands there helpless. Some gasps break the silence in the audience at this point. This is a moment of utter despair for Lavinia, and Reynolds plays this perfectly. From this point on in the play, the way Reynolds walks, moves, holds her body is different; she has become this tortured creature.
Titus Andronicus is not without humor, and Titus’ madness, in particular, leads to some funny moments. But once the evil deed has been done, Titus’ tragic destiny cannot be changed. He kills Tamora’s two sons, Chiron and Demetrius, bakes them in a pie, and serves them to Saturninus, emperor of Rome, and Tamora. He kills Lavinia, then all hell breaks loose, as most of the characters at the banquet are killed, and the stage is littered with bloodied bodies.
There was much laughter from some of the younger members of the audience during this slaughter, and it’s hard to pull off this scene. When Tamora’s throat was cut, the blood squirted at least six feet in the air, and it seemed as though it was a parody. I’m not sure whether one should laugh at this or not; it’s a tragic end to a revenge tragedy, where, as in Hamlet, bodies pile up. It goes a bit overboard, but in this production, it all seems to fit.
Here’s one of the trailers for the RSC production of Titus Andronicus.
See Katy Stevens discuss her role of Tamora in Titus Andronicus:
If you’ve been following this blog for a while, you know that one of my interests is Shakespeare. Since I moved to England in April, I’ve been able to see two productions by the Royal Shakespeare Company (RSC), in Stratford-upon-Avon. They have two wonderful theaters there, the Royal Shakespeare Theatre and the Swan Theatre. Both theaters are similar, but the Swan is much smaller. The former seats over 1,000, and the latter around 450.
You can’t see the stage very well from this photo of the Royal Shakespeare Theatre, but it is a thrust stage, where the stage is surrounded by the audience. There are several rows of seats on each side, and there are voms – walkways – leading off the stage through the audience. The Swan is similar, just smaller.
Because of this setup, seeing plays in both theaters is intimate, and if you’re sitting in the stalls – the ground floor level – the actors moving on and off the stage via the voms makes you feel like you’re in the middle of the action.
As I said above, I’ve seen two productions at the RSC so far: As You Like It, in May, and Titus Andronicus, in June, which I wrote about here. To feed my love for Shakespeare, I’ve planned a week-long trip to Stratford in September, to see, in this order: Titus Andronicus, As You Like It, Hamlet, and All’s Well that Ends Well. In addition, I’ll be taking two tours of the RSC, a Behind the Scenes tour and an Inside the RSC tour. I’ll be meeting with a couple of actors who are currently in two of the plays, and I hope to meet a well-known Shakespeare scholar who lives in Stratford.
I’m looking forward to this Shakespeare week, where I will be able to see four excellent Shakespeare plays (two of which I’ve already seen), go behind the scenes at the RSC, spend some time in the attractive town of Stratford-upon-Avon, and meet up with actors and others to talk about Shakespeare. If you like Shakespeare, make sure to stop by this blog around then, as I’ll be writing a lot about the experience, with reviews of the plays, interviews, photos and more.
Kenneth Branagh’s Hamlet is not only the longest version (just under four hours, not counting the credits), but also the most sumptuous version of Shakespeare’s great revenge tragedy on film. With exterior shots of Blenheim Palace, in Woodstock, England, and interiors designed to reflect the English baroque style of that massive country house, Branagh’s Hamlet shows the king and prince of Denmark in an opulent, luxurious setting.
This Hamlet pulls out all the stops. Not only is the setting lavish, but the cast is full of recognizable names. In addition to Derek Jacobi as Claudius (Jacobi notably played Hamlet in the BBC’s television version of the play, filmed in 1980), this film features Julie Christie as Gertrude, Kate Winslet as Ophelia, Michael Maloney as Laertes, Richard Briers as Polonius, and Nicholas Farrell as Horatio. The cast also includes such well-known actors as Robin Williams, Gérard Depardieu, Jack Lemmon, Billy Crystal, Rufus Sewell, Charlton Heston, Richard Attenborough, Judi Dench, John Gielgud and Ken Dodd.
So, with big names and a big set, does this Hamlet work? First, you need to settle down for the long haul. At just under four hours, this is a long film. There is an intermission (at around 2:38), so if you can’t plan to see the entire film in one sitting, you can split it at that point. Branagh based this film on a conflated version of the Hamlet text. (There is a book version of the Hamlet Screenplay – Amazon.com, Amazon UK – though this has no notes on the text. The best standard version is probably the Arden Shakespeare edition (Amazon.com, Amazon UK.) There are three main texts of Hamlet, the First Quarto of 1603, the Second Quarto of 1604, and the First Folio of 1623. There are a number of differences among the texts, and each one contains some lines that are not in the others. Branagh used all of the texts, rather than editing a specific version.
Branagh plays Hamlet splendidly, using the character’s feigned (or real?) madness as a prop, and leveraging the luxurious sets and excellent actors. While there are some areas where you could call this film bombastic, it never quite goes over the top. Branagh is, at times, very moving (the graveyard scene), and a bit excessive (the play-within-the-play), but the overall impression is that of a character fully in control of his destiny, with no other option but to head toward his tragic end.
The cast is generally magnificent. Derek Jacobi is brilliant as Claudius, and Julie Christie is excellent as Gertrude, especially in the cabinet scene where she see’s Hamlet’s madness up close. Kate Winslet is sublime as Ophelia, and some of the smaller roles feature fine actors, such as Charlton Heston, Richard Attenborough, Judi Dench, and John Gielgud.
One element that Branagh introduces that is not in the play is flashbacks. He shows Hamlet making love to Ophelia; Claudius killing King Hamlet; Yorick playing with young Hamlet; and a number of flashbacks and flash-presents of Fortinbras, particularly as his army is preparing to storm the castle. This makes the film much more cinematic, though it does alter the story a great deal. When reading the play, or seeing it on stage, it’s clear that Hamlet is in love with Ophelia, but showing sexual relations lifts the veil on any ambiguity about their relationship, which isn’t spelled out in the play. On the other hand, showing Claudius poisoning King Hamlet is simply an illustration of what the reader or spectator knows has happened, and serves as a counterpoint for the dumb show that precedes the play-within-the-play.
Some elements of the play are a bit excessive. Kate Winslet, as Ophelia, seen in a straitjacket and padded room, seems to be a bit too much. Billy Crystal’s New York accent – he’s one of the gravediggers – is out of place. And the final sword fight almost jumps the shark, as Branagh kills Claudius by throwing his sword, then swings from a chandelier.
But none of this detracts much from the overall impression one gets watching this version of Hamlet. This large-scale approach makes the story much bigger, and instead of the king and queen being the rulers of a handful of people (as is the case on stage), we see them in a more realistic environment. There are many ways to direct Hamlet, and this, a Hamlet of extremes, is the best example of one approach. You may prefer others; there are several on film. But if you like Hamlet, you probably won’t be disappointed by this version.
This year’s Manchester International Festival saw a new staging of Macbeth, with Kenneth Branagh in the starring role. This limited run was performed in a deconsecrated church, and, with some 280 seats per performance, sold out in less than 10 minutes.
Fortunately, the National Theatre, through its NT Live program, broadcast a performance of this play to movie theaters in the UK, and will be broadcasting it several more times to theaters in the UK and abroad. I was able to see a performance of this production in my local cinema in York.
The “stage” for the performance was the choir and the apse of the church, with spectators sitting in pews on either side of the choir. As the production opens, the weird sisters have their brief scene through open doors at one end of the church, then, as drums and cymbals resound, lights flash and rain falls on the dirt-covered stage area as a great battle takes place. This battle isn’t seen in the original play, as the next scene is where Macbeth and Banquo discuss their victory. But this production uses the battle as the starting point for the action, and rightly so. Dead bodies litter the battleground during the next scene, and the dirt, which has become mud, is a silent yet present leitmotiv throughout the play, reminding us that the earth, the land, is what is coveted.
This Macbeth is fast-paced, with the play coming in at around 2 hours, and the tempo nearly breathless for much of the duration. Actors come and go at either end of the choir, or through openings between two sections of seats on either side, and scene changes are quick and fluid.
Macbeth is a small play, in that much of the action concerns only a few characters: Macbeth, Lady Macbeth, and the king Duncan at first; later, after Macbeth kills Duncan to become king himself, Duncan’s son Malcolm and Macduff are key characters.
For much of the play, this breakneck tempo has the action moving ahead quickly, until things suddenly begin to drag, in Act IV, Scene iii, Malcolm and Macduff discuss overthrowing Macbeth, and Macduff learns of the death of his wife and children. He vows revenge, and together, they raise an army to restore Malcolm to the throne.
This long scene drags a bit, and erases the tempo that had been maintained since the beginning of the play. Alexander Vlahos as Malcolm is stiff, and cannot keep the action moving ahead, though Ray Fearon’s Macduff is brilliant in his grief and anger.
Kenneth Branagh excels in this role; his physical and verbal prowess are both outstanding. His diction is excellent, and in spite of his fast speaking, he makes Shakespeare’s word shine. I was less impressed by Alex Kingston’s portrayal of Lady Macbeth. I felt she was too frenetic early in the play, before Macbeth killed Duncan, to pull off the madness in Act V, Scene i. I think there needed to be more contrast, and she over-acted in the latter scene, being far too obviously mad.
I particularly liked the casting of three young women as the weird sisters. Generally cast as old women, as fairy-tail witches, these three young women were powerful in their dark dresses and makeup.
While the choice of the theater as stage was excellent, it introduced two problems. The first was unexpected; Britain was in its hottest summer in seven years, and many of the spectators could be seen fanning themselves with their programs. On the sultry night when this was filmed, together with the rankness and humidity within following the rain at the beginning of the play, it must have been uncomfortable. But those fanning programs were often distracting; several cameras were set up on one side of the choir, showing the actors with the seats on the other side behind them.
The second problem was the length of the “stage” area. This led to many scenes where actors walked, or even ran, from one end to the other, for no apparent reason. In Act IV, Scene iii, for example, Malcolm and Macduff enter the stage on the apse, and Malcolm walks all the way to the other end of the stage to talk to Macduff, who remains stationary. This occurred several times in the performance; it was as if the directors felt that the entire stage needed to be used, but there was no dramatic justification for all that movement.
Nevertheless, the play was masterfully filmed, with, as I mentioned, several cameras on one side of the choir, and a few others above the choir and in various locations. Aside from the occasional shot which began out of focus, the only production oddity was certain shots where a wide-angle lens was used to keep actors far apart on the stage in focus, which led to the distant actor being distorted. When this wide-angle lens panned, it was also a bit dizzy-making.
But the NT Live team managed to bring to the screen this powerful production from a cramped set, giving the feeling, even to those in movie theaters, of being in the middle of the action. This is an excellent Macbeth, and one worth seeing if possible.
If you saw my recent review of the RSC’s Titus Andronicus, you’ve figured out that I’m a Shakespeare fan. Since I moved to the UK, just under three months ago, I’ve seen four Shakespeare plays, and have tickets to see a few more. This is part of my project to see every Shakespeare play live at least once, as soon as possible.
But you will also have seen, in the Titus review, that I said that “Henry VI Part I was an insipid performance, with wooden actors and uninteresting staging.” Last night, I went to see Henry VI Part II, at York’s Theatre Royal. It was as bad is the first part, so much so that my girlfriend and I left at the interval (intermission). What’s going on here? Why are these performances so bad?
I haven’t ruled out the possibility that I’m missing something. Being aware of early music performance practice, I wonder if the Globe company isn’t trying to do some sort of “authentic” performance. While this is possible, it still doesn’t jibe with what they’re doing on stage. The actors are, for the most part, stiff and wooden, except when one of them turns on the ham amplifier. Some of the actors are simply bad – I won’t mention names – and sound as if they are simply declaiming their lines. Others show emotion, enough to invalidate the hypothesis of some sort of original performance style.
To be fair, these early history plays are not the most interesting. Yet Henry VI was written around the same time as Titus Andronicus, and the RSC production of that play was unforgettable. (It’s so good, I’m planning to see it again in September.) There is little scintillating language in Henry VI, the plots are tangled and confusing, and at both performances, it was hard to follow what was going on. This was compounded in Part I, where several actors played two roles, one of an English character, the other of a Frenchman.
Another thing I wonder is whether the Globe company can play on a normal stage. The Globe Theatre in London has a thrust stage – where the stage reaches out into the audience, so the actors are playing in the middle of the spectators – as does the RSC’s two theaters in Stratford-Upon-Avon. Perhaps being forced to use a standard stage limits them in their movements and actions. It was almost painful to see, at times, a dozen characters standing stock-still on the stage as one or two characters were speaking.
One element that was particularly poor was when, in Act II, Scene I, four falconers stood on stage, holding their arms up with invisible hawks, going, “Caw, caw.” But the shark-jumping moment came at the end of the first part of the play, just before the interval. In Act IV, Scene I, Suffolk is executed. In this production, he is led up to the top of one of two metallic scaffolds on the stage which represent towers. His head is lopped off, and a rubber head is dropped onto the stage just before the lights on stage are extinguished. But the dropping of this head is funny, and, at what should be a very serious moment in the play, the audience laughed quite loudly. Doing something like this to provoke laughter, at this point in the play, makes no sense.
I found little in this play to be enjoyable. Even assuming that the Henry VI plays are among Shakespeare’s weakest, I feel the Globe should have done much more to try to make these plays interesting. I note that the York performances were the first on a tour of these plays. I wonder if things will change as they go on, and especially whether they’d be better when they play in their home theater. But it’s more than just the stage. Most of the actors don’t seem invested in their parts, and the ones who are stand in stark contrast to the blandness of the rest of the troupe.
This all surprises me, as I have seen several DVDs of the Globe performing in their own theater, all of which have been very well done. There’s a real disconnect here between what the Globe can do, and what they’ve done with the Henry VI plays.
I won’t be going to see Part III, and hope to be able to get a refund for my unused tickets. There were plenty of empty seats at Part I; there seemed to be more at Part II; I wonder how many people will stick it out and see Part III.
(An aside: the York Theatre Royal is extremely uncomfortable. I’m six feet tall, and I felt, sitting in the theatre, like being on an airplane. Even my girlfriend, who is about six inches shorter than me, found the legroom too limited. I may not go back to that theatre.)
Strictly by chance, I ended up seeing two Shakespeare plays on two consecutive days this week. The first was Henry VI, Part I, here in York, performed by Shakespeare’s Globe. This is the first of three plays, and I’ll be seeing the next two on the two coming Wednesdays.
Then on Thursday, I attended an event for bloggers at the Royal Shakespeare Company’s Swan Theatre (the smaller of two RSC theatres) in Stratford-upon-Avon, seeing their current production of Titus Andronicus, and attending a question and answer session after the performance with director Michael Fentiman, and actors Rose Reynolds (Lavinia), Katy Stephens (Tamora) and Stephen Boxer (Titus). It has been an interesting week.
Rose Reynolds and Stephen Boxer at a question and answer session after the performance.
While Henry VI Part I was an insipid performance, with wooden actors and uninteresting staging, Titus Andronicus was a revelation. Both of these plays are among Shakespeare’s earliest, and Shakespeare may have collaborated with other authors when writing them. Henry VI was probably written in 1591, and Titus Andronicus between 1590 and 1593. Both are considered to be among Shakespeare’s weaker plays, as well, and Harold Bloom, in Shakespeare: The Invention of the Human, is very critical of Titus Andronicus. Bloom says that “Everything and everyone on stage is very remote from us, the rigid Titus most of all,” and, “I don’t think I’d see the play again unless Mel Brooks directed it, with his company of zanies, or perhaps it could be made into a musical.”
My experience with Titus Andronicus was limited to the 1985 BBC version, which greatly tones down the blood and gore which is at the heart of the story, and is also devoid of any humor. I also have the 1999 film Titus, directed by Julie Taymore, with Anthony Hopkins as Titus. I watched a half-hour of it a few days before going to Stratford, but didn’t get around to watching the entire movie; it didn’t grab me.
A few years ago, I bought this wonderful complete set of the BBC’s productions of Shakespeare’s plays. (Amazon.com, Amazon UK) Recorded between 1978 and 1985, these recordings show their age, but feature a plethora of excellent actors and actresses, such as John Gielgud, Derek Jacobi, Bob Hoskins, Brenda Blethyn, Anthony Hopkins and Clive Swift. No modern productions here – all of these are period pieces, and feature the BBC’s minimalist sets and design. This design can be annoying in some productions, but in most the words take precedence and one ignores the sets.
As yet, I have only watched a handful of the DVDs, but the ones I have watched (the first four Henrys, Romeo and Juliet, The Comedy of Errors and King Lear) are all excellent. As I said, they show their age, but they do represent a fairly consistent approach to the works, in spite of featuring a number of different directors (notably Jonathan Miller) throughout the series.
For Shakespeare fans, this is a must-have set, especially considering its relatively friendly price (£68 at the time of this writing). Note, however, that the BBC is embarking on a new series of Shakespeare plays in the near future, with today’s actors and actresses. I don’t think that’s any reason to avoid this set, however, as it shows a type of Shakespearean interpretation that is, in a way, for the ages.
Update, September, 2011: since I first posted this in 2008, I’ve watched about half of the plays; I have no desire to go through them all in a hurry. While some productions are weaker than others, overall, the set is magnificent. Notable plays are Hamlet, with Derek Jacobi in the title role, and Othello, with Bob Hoskins as Iago. Some of the productions are a bit dated, and tacky, but the acting is generally very good to excellent. At the price at which this set is sold – a couple of quid per play – this really is a steal.