Theatre review: Dear Brutus

J. M. Barrie’s Dear Brutus may take its title from Julius Caesar, but the Shakespeare play it borrows most overtly from is A Midsummer Night’s Dream. Lob (Robin Hooper) is a puckish – literally – old man who’s invited a group of strangers with one thing in common to spend the week at his home. As his guests try to figure out what their mysterious common characteristic is, they hear a local legend of a magical wood that appears in a different spot every Midsummer’s Eve; anyone who enters it is never seen again. The enchanted wood does appear, of course, and most of the guests do enter it, but in a three-act structure that’s like a much better-done version of The Passing of the Third Floor Back, they do all emerge again, all changed to varying degrees. This is a play full of wild variations in tone, as what each group of characters discovers in the wood is very different.

Theatre review: Nell Gwynn

This was a drama school production so technically an amateur performance; as usual I'll try to treat it the same as a professional show, since that's what the cast will be hoping to be in next.

Already one of my favourite directors, Jessica Swale made for a promising playwright as well with Blue Stockings, so her latest look at a trailblazing woman from history had to be worth checking out. Swale has been working with some of the LAMDA students around whom she's written Nell Gwynn, about the woman best remembered as Charles II's (in)famous mistress. This does, of course, feature in the play, but its larger concern is with the high profile that got the King's attention in the first place, and Gwynn's place in theatre history as the first woman to act on the Drury Lane stage. A former prostitute who moved on to the barely-more-respectable profession of orange-seller, Nell's (Bathsheba Piepe) confident sales pitch catches the eye of actor Charles Hart (Donal Gallery.) When a rival theatre company makes headlines with an actual female Desdemona (whose topless death scene is completely integral to the plot) Hart convinces impresario Killigrew (Adam Scott-Rowley) that Nell should be their own first "actoress."