Theatre review: Pericles(RSC/Swan & Chicago Shakespeare Theater)

The new RSC team's first season ends with half an Artistic Director finally making a debut as unlikely and understated as the rest of the summer run has been: One of the most obscure plays to just about scrape into the canon, the one Shakespeare himself was so invested in he entrusted half the writing to some pimp he met down the pub. Tamara Harvey hasn't directed at the RSC before, so starting in the smaller Swan also seems a sensibly measured way of getting used to the company's deep thrust stages. In context though there is something audacious about the choice of Pericles as her opening salvo - a play perceived as so unpopular that both her predecessors dealt with it by announcing they were going to stage it, then hoping nobody would notice when they didn't. In this meandering late romance Pericles, Prince of Tyre (Startled Giraffe Alfred Enoch) sets out on a variety of fairytale quests to win princesses with, it's probably fair to say, varying results.

Theatre review: Dr Semmelweis

After his return to Jerusalem was a sell-out, there was little question that another recent Mark Rylance project would make its way to the West End as well: Stephen Brown's Dr Semmelweis, first seen at the Bristol Old Vic, also gives Rylance a co-writing credit as it was apparently his idea to dramatise the story of an obstetrician who saw the importance of hygiene in medicine decades before anyone understood bacteria, and was laughed and bullied out of his profession for it. I'm not sure it's entirely in character for Rylance to side with the latest medical discoveries over, say, fresh air and garlic; then again the play also shows Ignaz Semmelweis as a paranoid conspiracy theorist so it's six of one half a dozen of the other. The play begins in the middle of the story, with Semmelweis losing his mind, but retaining its sharpness in some ways.

Theatre review: Vice Versa, or, The Decline & Fall of General Braggadocio at the Hands of his Canny Servant Dexter & Terence the Monkey

The Roman theme of this year's RSC season in Stratford extends to the Swan, most obviously in Vice Versa, or, The Decline & Fall of General Braggadocio at the Hands of his Canny Servant Dexter & Terence the Monkey. Phil Porter's farce is inspired by the plays of Plautus, although they're not the only thing that's been "lovingly ripped off" - that tagline itself comes from Spamalot, and Janice Honeyman's production resembles nothing so much as a Carry On film - there's even a nod to the famous "Infamy, infamy, they've all got it in for me" line from the play's gull, Braggadocio (Felix Hayes.) The vain and ludicrous General returns to Rome from a war, bringing with him some of the people he's enslaved - including the lady Voluptua (Ellie Beaven,) whom he's taken as a concubine.

Theatre review: Peter Pan (National Theatre)

"Sorry Peter, Wendy can't play today, she's getting a hip replacement."

Last year I left Sally Cookson's Jane Eyre at the interval, and Peter Pan isn't a favourite story of mine, so the combination of the two didn't make this year's NT family Christmas show appeal too much. It was only the eccentric casting of Sophie Thompson as Captain Hook that made me book, so the fact that Thompson broke her wrist (the irony!) and had to withdraw from the production was a disappointment to say the least. She's been replaced by Anna Francolini, an excellent choice but, after her villain on the same stage in last year's wonder.land, perhaps not quite as surprising. Wendy (Madeleine Worrall) and her younger brothers John (Marc Antolin) and Michael (John Pfumojena) are left home alone when their parents go to a work party, and flying green child Peter Pan (Paul Hilton) gets into their bedroom. After Wendy helps him get his shadow back, Peter teaches the siblings how to fly, and leads them to Neverland.

Non-review: Jane Eyre

The regular readers of this blog will both recall that I don't technically like to say what I've written is a review, if I didn't see the whole show. Full disclosure, Charlotte Brontë's Jane Eyre was one of my A'Level English texts and I didn't like it then. So when an adaptation was announced at the National Theatre I was cautious, but booked anyway because the production - which originated in Bristol - had got good reviews and been praised as a revelatory take on the story. Director Sally Cookson and her cast have adapted and devised a highly physical telling of the story of Jane (Madeleine Worrall,) orphaned as a baby¹ when her parents catch a fatal case of interpretative dance. She's sent to an uncle, who also promptly pops his clogs, and after the requisite Wicked Stepmother behaviour from her aunt (Maggie Tagney) and cousins, she's shipped off to a charity school for unwanted girls.

Theatre review: The Comedy of Errors (RSC / RST & Roundhouse)

The last, for me, in the "What country friends is this?" season (although the first written) is The Comedy of Errors, Shakespeare's silliest play, featuring two pairs of identical twins, a gold chain and a fair bit of extramarital shagging, both intentional and accidental. Antipholus of Syracuse (Jonathan McGuinness) arrives in Ephesus with his servant Dromio (Bruce Mackinnon.) They try to blend in and do so a bit too well, unaware that they're being mistaken for their twin brothers, also called Anthipholus (Stephen Hagan) and Dromio (Felix Hayes.) And yes, it continues to irritate me that Antipholus of Syracuse doesn't put two and two together when he actually knows he has an identical twin out there somewhere, which is why he set sail from Syracuse in the first place, to find him; let's just put it down to him being a massive idiot and get on with the review.

Theatre review: The Tempest (RSC / RST & Roundhouse)

Distracted from his duties as Duke of Milan by his books of magic, Prospero was deposed in a coup by his brother Antonio and the King of Naples, Alonso. Washed up with his infant daughter on a remote island, he used his magic to rule it, enslaving its one human inhabitant and the various spirits, led by Ariel. 12 years later the royal families of Milan and Naples happen to sail by, and Prospero conjures The Tempest responsible for the next shipwreck in the RSC's "What country friends is this?" trilogy. Jon Bausor's set here becomes a much more expressionistic island of warped and broken floorboards, scattered with boulders and harshly lit by fluorescent lights. As with Twelfth Night, David Farr directs, and comes up with another uneven production that shines in the big setpieces, but struggles with the play's hefty exposition.