Theatre review: London Tide

With the exception of Oliver Exclamation Mark and umpteen Christmas Carols, the works of Charles Dickens (Chickens to his friends) have largely resisted the musical theatre treatment. Ben Power (book and lyrics) and PJ Harvey (music and lyrics) haven't been deterred by the idea that there might be a reason for this, so have tackled Our Mutual Friend, well-known among Dickens' novels as being... definitely one of them. Retitled London Tide, this stage version frames the story as being that of two women who never meet until the very end, but are both affected when a body is fished out of the Thames and identified as the missing heir to a dust fortune. From context I think that means dust as in a waste management firm, not Dark Materials. Bella Wilfer (Bella Maclean) had been due to marry the dead man despite never having met him, and is now suddenly considered a widow without ever having actually married or come into the inheritance.

Theatre review: The Lehman Trilogy

After having apparently been a hit across Europe, Stefano Massini’s The Lehman Trilogy gets its first English-language version from Ben Power, and a glossy production at the Lyttelton from Sam Mendes. Apart from very brief glimpses of supernumeraries, the three-and-a-half hour play is cast only with three actors, Simon Russell Beale, Ben Miles and Adam Godley. In the current theatrical climate it's hard not to notice that a banner production at the National Theatre exclusively stars middle-aged white men, but then it's hard to argue that the middle-aged white men they're playing haven't had a significant enough effect on today's world for their story to need to be told: The fall of Lehman Brothers in 2008 was the trigger for the most recent global recession, whose political after-effects are very much coming to play now; this is the story of the men who created the company, and the descendants who steered it in directions that helped put global finance on a knife-edge.

Stage-to-screen review: Richard III (BBC Hollow Crown)

What do BBC budget cuts look like? Geoffrey Streatfeild with some muesli on his face to show that Edward IV is poorly, that's what they look like.

It's been tempting throughout this second series of The Hollow Crown to see adaptors Ben Power and Dominic Cooke as using the re-cut Henry VI Part 1 and especially Part 2 as warm-up for the main event of The Hollow Crown: The Wars of the Roses - Richard III, whether because of  Brobdingnag Arafat being cast in the title role or simply because it's always been the most popular play in the tetralogy. And while there's been some strong moments along the way to belie the fact that these are Cooke's first foray into directing for the screen, there's no denying that he's saved the flourish for the finale. With the exception of the climactic Battle of Bosworth Field, there's not so many wide open spaces as before, instead the "bottled spider" gets to work in claustrophobic rooms with a lot of blue filters (so blue at one point it looks like Barry Chuckle is wearing electric blue nail polish.)

Stage-to-screen review: Henry VI Part 2 (BBC Hollow Crown)

The cynical side of me thinks that the middle part of the BBC's Wars of the Roses wouldn't have focused quite so squarely on the future Richard III if they hadn't got Banoffee Hydrochloride to play him; but realistically I think Shakespeare's first tetralogy of English Histories is so roundly considered to be unloved that the one character everyone's heard of would probably have been at the center of Ben Power and Dominic Cooke's The Hollow Crown: The Wars of the Roses - Henry VI Part 2, regardless of who they got to strap on the hunchback. In any case, making this mix of Shakespeare's Parts 2 and 3 effectively a prequel to Richard III lends it the closest thing it has to an overall story arc, in an adaptation that doesn't live up to the dramatic impetus Power and Cooke managed last week in Part 1.

Stage-to-screen review: Henry VI Part 1 (BBC Hollow Crown)

After  the BBC's 2012 series The Hollow Crown presented the second (in order of writing) tetralogy of Shakespeare's Histories, there was a general assumption that it would be followed up with the rest of the story as told in the Henry VI plays and Richard III. But response to that quartet was mixed, and the Henry VIs, written earlier in Shakespeare's career, aren't particularly well-loved, and I got the distinct impression the BBC weren't too keen on going there. The occasion of the 4th centenary of the playwright's death and the resulting on-screen festival got them to reconsider - although I can't help suspecting it was the fact that the ever-popular Botulism Nanobot agreed to play Richard III, probably guaranteeing big ratings, that finally got this green-lit. Ben Power has stayed on from the first series as adaptor, but Dominic Cooke has been given directing duties on all three films - a good idea, as the first series wasn't always that cohesive from one part to the next.

Theatre review: Husbands & Sons

The National's new epic is called Husbands & Sons but it's the wives and mothers - underappreciated and overbearing, respectively - who hold centre stage. Ben Power adapts three DH Lawrence stories of a coal-mining town between Derbyshire and Nottinghamshire in 1911, having them play out in parallel in a single neighbourhood. Three houses are marked out on Bunny Christie's in-the-round set: At the Holroyds', Lizzie (Anne-Marie Duff) is always saying she's finally had enough of her husband Charles (Martin Marquez,) an angry drunk who's not above stumbling home in the middle of the night with other women in tow. But she always takes him back, despite the efforts of the plant's electrician Blackmore (Philip McGinley,) even when he reveals he's in love with her, and his plan to help her escape with him to Spain.

Theatre review: Medea

Among the many current discussions about jobs and representation for women on stage, one question that often comes up is what constitutes a "strong female role." I would have thought it obviously meant "a strong role, but for a woman," but if Hollywood thinks it means a woman who punches people, others seem to confuse strong roles with positive ones. But the title role in Euripides' Medea is undoubtedly a strong role, while far from anyone's idea of a heroine; and Helen McCrory doesn't make the mistake of trying to make her one as she takes it on. Medea helped Jason steal the golden fleece from her family, and they married and fled to Corinth. Some years later, their fortunes faded, Jason (Danny Sapani) leaves Medea and their two sons to marry Kreusa (Clemmie Sveaas,) the daughter of King Kreon (Martin Turner.)

Theatre review: The Hush

Sound designers often make a huge contribution to a performance's overall effect but they're rarely the instigators of an entire production, as composer and DJ Matthew Herbert is for the latest show in The Shed, The Hush. Unfortunately it doesn't involve floating Gentlemen stealing people's voices, although it does involve the audience losing their shoes - in the interests of not making noise, we're asked to take our shoes off and leave them in a rack at the back of the stage. In a small theatre at the end of a hot day the show threatens to become an assault more on the nose than the ears; on the other hand if you're a theatre usher with a foot fetish, I think I've identified your dream job. Back to the stage though where a space that looks like an anonymous hotel room turns out to be a place called The Hush, where sound is created and listened to.

Theatre review: A Tender Thing

Of all the former Ensemble^TM members who might have made a speedy return to the RSC, I would have put Kathryn Hunter at the bottom of the list after her very public resignation from both that season and her position as an RSC Associate. But return she has, and as she's one of those actors whose performances are always worth catching if at all possible, A Tender Thing saw me make a trip to Stratford-upon-Avon for a show that's not even as long as the train trip each way.

Apparently the question "what would have happened if Romeo and Juliet had lived and grown older" is one that continues to haunt writers and actors. (I don't know why, the answer is "they'd have broken up within a fortnight." Oh shush, you know they would.) Ben Power doesn't quite attempt to answer this question: Instead he creates a new Romeo and Juliet out of the original words of Shakespeare's play.

Stage-to-screen review: Henry V (BBC Hollow Crown)

The BBC's Hollow Crown series of Histories comes to an end with Henry V, the final play in Shakespeare's quartet. Although I somehow think even if it had been a collection of Shakespeare's romantic comedies it would have somehow managed to end with Henry V - it's been a Henry V kind of year, and even having skipped a couple of productions I could have seen, this is the fourth interpretation I've seen in 2012 so far. Fortunately, each version has had a fairly different take on the story. Tom Hiddleston's Prince Hal is now King Henry V, and on the surface of things he's left his reckless days behind him. But the defining event of his reign betrays that wild side - a bloody campaign against France, based on a spurious historical claim to the French throne. Meanwhile we see how some of Hal's former Eastcheap drinking buddies are getting along since he renounced their company.

Stage-to-screen review: Richard II (BBC Hollow Crown)

Although the BBC's Hollow Crown series was an original commission rather than adaptations of previous stage productions, I'm going to count it as "stage-to-screen" and review it here as the directors and many of the actors are best known for their stage work, and the intention seems to have been to bring theatrical experience to bear on putting Shakespeare on TV.

The Hollow Crown, the BBC's adaptation of Shakespeare's second (in order of writing) history cycle was broadcast in June and July, but I've held off on watching them as there's a comparatively theatre-light month ahead. So I'm going to spread them out across August (actually Henry V might wait a bit longer, since it's not like there's any shortage of that play at the moment.) But first up Rupert Goold directs Richard II, and brings the title character's most famous speech ("For God's sake, let us sit upon the ground" etc) right to the start as a voiceover which makes for a nice opening not just to this play, but to the quartet of plays as a whole: The line about kings "haunted by the ghosts they have deposed" will prove particularly pertinent to his successor. Utterly convinced of his divine right to rule England, Richard II deals capriciously with the lives of his subjects, but one abuse of power too many leads to a coup that his circle of flatterers is powerless to stop. But a deposed king can still be a figurehead to rebels, and the new king Henry IV won't rest easy as long as Richard's alive.