Stage-to-screen review: Twelfth Night(RSC / RST & Marquee TV)

Christopher Luscombe's Shakespeare productions tend to have a touch of the Merchant/Ivory to them, and so it is with this 2017 production of Twelfth Night, one of the few productions of the RSC's current run through the complete works that I'd missed until now, when it's just been added to Marquee TV's roster. Simon Higlett's set and costume designs are of a sumptious, solid kind a thrust stage like the RST rarely seems to need or bother with, and Nigel Hess' music is used like a movie score, much like he and Luscombe experimented with a decade earlier in their Merry Wives of Windsor for the Globe. The period movie they're making here is a Victorian one, where Shakespeare's fictional Illyrian coast becomes London and the countryside, by now comparatively easily accessible by train.

Theatre review: The Rocky Horror Show

I toyed with calling this a "non-review," my term for when I don't feel qualified to pass comment on something (usually because I didn't stay to the end.) In this instance it wouldn't have been because of me but because Richard O'Brien's The Rocky Horror Show has gone beyond anything that can actually be reviewed, into a surreal immersive experience where most of the audience know the script better than the cast do. In fact I've never seen the show on stage before, although I have seen the film; Christopher Luscombe’s production seems to be almost permanently touring the country so I always figured there'd be another chance to catch it. But after seeing the obscure sequel Shock Treatment last year it seemed about time for a visit to the famous original, in which newly-engaged couple Brad (arsehole) (Ben Freeman) and Janet’s (slut) (Diana Vickers) car breaks down and they go to a spooky mansion to see if they have a phone they can use (they don't.)

Re-review: Nell Gwynn

Jessica Swale's Nell Gwynn, which I put at number 4 in my Top Ten productions of 2015, has made it to the West End for a deserved wider audience; you can read myoriginal review of Christopher Luscombe's production here, from its run at Shakespeare's Globe. With Hugh Durrant's design recreating a slightly smaller version of the Globe's stage for the Apollo, much of my original review stands (except for Sarah Woodward nicking someone in the audience's drink; harder to do on a pros arch.) Of course, one major change is in the lead, Gugu Mbatha-Raw having had filming commitments. But you couldn't have asked for a better replacement than Gemma Arterton, who has just the right kind of charisma - much of it consisting of a wicked sense of fun - to bring both the steely determination of the first-ever female star actor, and her warmth to life. (And we already knew from her turn in Made in Dagenham that Arterton could handle Nell's bawdy songs.)

Theatre review: Nell Gwynn

One bonus of blogging my thoughts about every show I see is that when I spot future talent, I can go back and be smug about it when I'm right. It's not just actors* - it's a pretty quick turnaround since I saw Jessica Swale's Nell Gwynn being premiered at LAMDA, and said the play deserved to be picked up by a professional company. A year later and it has been, by Shakespeare's Globe where Swale's playwrighting debut Blue Stockings was also staged. Christopher Luscombe directs the first professional production, and the venue's unique dynamic is a great match for a play that not only concerns itself with theatre behind the scenes, but is also positively meta about it. Because although Nell Gwynn's remembered mostly as the King's mistress, this is if anything the "B" plot of the play.

Theatre review: Love's Labour's Won (RSC / RST)

For the RSC's run through the complete works of Shakespeare, Much Ado About Nothing is being staged under the title Love's Labour's Won, on the (reasonable) assumption that this is the real identity of the mysterious "missing" comedy some sources refer to. In Christopher Luscombe's paired productions it's being presented as a direct sequel to Love's Labour's Lost, which ended with the various couples separated as the men go off to the First World War. Love's Labour's Won has been set at Christmas 1918, with Leonato's (David Horovitch) home still being used as a makeshift hospital, his daughter Hero (Flora Spencer-Longhurst) and niece Beatrice (Michelle Terry) nursing wounded soldiers. But the War is over now and the house can start going back to normal with the arrival of a victorious regiment led by Don Pedro (John Hodgkinson) and including Beatrice's ex-lover and favourite sparring partner Benedick (Edward Bennett.)

Theatre review: Love's Labour's Lost (RSC / RST)

The RSC's six-year run through the Shakespeare canon now comes to a pair of comedies that possibly share a greater connection than is immediately apparent: There's a theory (one that I personally find very likely,) that the "lost" play Love's Labour's Won is in fact simply an alternative title for one of the extant comedies. The most likely candidate is Much Ado About Nothing, as its warring lovers Beatrice and Benedick could well be older versions of Rosaline and Berowne, the sparring partners separated at the end of Love's Labour's Lost. To test the theory, the two plays are being paired in productions by Christopher Luscombe at the RST, with Michelle Terry and Edward Bennett playing the lovers in both. They also see the RSC make their own contribution to the First World War centenary, as they're being set either side of the Great War, which is here what parts the couple.

Theatre review: Travels With My Aunt

PREVIEW DISCLAIMER: Travels With My Aunt invites the critics in on Wednesday.

It may continue to be a hit factory, but sometimes the Menier Chocolate Factory makes some very odd programming choices. After last year's aunt-related nostalgia trip we now get another in Graham Greene's Travels With My Aunt, in Giles Havergal's 1989 adaptation, revived here by Christopher Luscombe. Henry Pulling is a retired bank manager who's played things safe all his life. At his mother's funeral he meets her estranged sister, his Aunt Augusta, for the first time, and is sucked into a more bohemian world: Augusta's life has been one of torrid affairs (with an unfortunate preference for war criminals,) smuggling and the worldwide travel that comes with it. In an attempt to finally connect with her nephew, Augusta brings Henry along on her latest series of adventures across Europe, and eventually across the Atlantic to end up in Paraguay - but not before she reveals a few shocking truths about his family history.