Theatre review: Measure for Measure(RSC / RST, Barbican & tour)

The current RST season has so far been OK without coming close to blowing me away, and it now limps to an end with Measure for Measure. A Problem Play - so much so that it fits into the narrow original definition of the term that only encompassed three plays - it's admittedly not one I find it easy to like, unless approached with a kind of originality and flair that Gregory Doran's production doesn't have to offer. Vienna - in Stephen Brimson Lewis' design an early 20th century version, the Vienna of the waltzes - has always had prohibitively strict morality laws that have been hard to enforce (because, as the play acknowledges, it would entail expecting people not to behave like people.) The current Duke (Antony Byrne) has been particularly lax in enforcing the law, and the city has become a haven for extramarital sex, whether for fun or profit. The Duke regrets this but after all this time thinks it would be hard for him to enforce it again himself so, pretending to leave the city, he leaves his deputy Angelo (Sandy Grierson) in charge, while staying in Vienna in disguise to see what happens.

Theatre review: Peter Gynt

The latest main-stage epic at the National is largely selling itself on the way it reunites the creatives from 2016 hit Young Chekhov on the Olivier stage - adaptor David Hare, director Jonathan Kent and star James McArdle. Building the whole show around the latter, Hare has transported Henrik Ibsen's weird social fantasy Peer Gynt to Scotland, although much of the mythology remains jarringly Nordic. Retitled Peter Gynt, it sees McArdle's title character starting out as a lovable fantasist, returning to Scotland from a war in which he's seemingly made a name for himself, except all his exploits start to sound suspiciously familiar to anyone who's seen any movies*. In reality, his biggest claim to fame is fighting mechanic Duncan (o hai, Lorne McFadyen,) but he gets the idea for a bigger stunt when he finds out his ex-girlfriend Ingrid (Caroline Deyga) has got together with Spudface (Martin Quinn) in his absence.

Theatre review: White Teeth

A definite case of déjà vu walking into the Kiln, as Tom Piper’s perspective set for the musical White Teeth is reminiscent of Robert Jones’ street for the Young Vic’s Twelfth Night. Except instead of Notting Hill this is set right outside the theatre’s doors in Kilburn High Road; in fact I can think of no reason other than scheduling clashes for this not being the opening show of the renamed theatre’s season, given how much fuss has been made about the Kiln tying into the local community and its identity. Zadie Smith’s novel, adapted here by Stephen Sharkey with music by Paul Englishby, is something of a twisted love letter to Kilburn and its multicultural community with all its clashes and contradictions, through a convoluted intergenerational family epic. It’s predominantly the story of Irie (Ayesha Antoine) growing up in the 1970s and ‘80s alongside identical twins Millat (Assad Zaman) and Magid (Sid Sagar.)

Theatre review: Richard II (RSC / RST & Barbican)

For God's sake, let us sit upon the ground, and tell sad stories of split ends and frizz.

After a year in charge of the RSC, Gregory Doran's first piece of programming finally rolls round, backing up a feeling that star casting is back to stay at Stratford where he directs David Tennant as Richard II. The great-grandson of Edward II, you'd expect family history to have made Richard fully aware that sometimes kings can be deposed, but instead he is steadfast about his divine right to rule, and does so capriciously. Banishing his cousin Bolingbroke is a bad idea, but worse is seizing his property once he's gone, to fund an Irish war. Bolingbroke isn't going to stand for it, and his return to England becomes a fully-fledged revolt. Faced with the fact that his power and even his life aren't as safe as he believed, Richard has to try and maintain both his crown, and the natural lustre and shine of his hair.

Theatre review: The Orphan of Zhao

Next up in the "A World Elsewhere" season is the first Chinese play ever to be staged at the RSC, The Orphan of Zhao. Although its provenance is slightly less straightforward than that - the story has been retold on stage in China for centuries, with the best-known version being Ji Junxiang's 14th century telling, with 17th century amendments by Zang Maoxun. What we have here is a new adaptation by James Fenton, taken from a variety of original Chinese sources (and adding a new ending to tidy up a nagging plot hole.) Gregory Doran directs, making this either his final production as Chief Associate, or his first as Artistic Director, or neither, or both. The publicity has been keen to call the play the "Chinese Hamlet" although the main similarity is in this being a bloody revenge tragedy - The Orphan of Zhao is a much more epically sprawling affair, and at times a gripping one.

Theatre review: Hedda Gabler

I've seen a fair selection of Ibsen plays in my theatregoing by now, but hadn't managed to see one of his most famous works, and what is considered one of the greatest female roles in all of theatre, Hedda Gabler. I've tried to remain unspoiled about the play, so Sheridan Smith is my first impression of what is apparently a very enigmatic character, interpreted by different people in a variety of different ways. I was perhaps expecting another Nora but Hedda is a much less straightforward figure. The much-admired daughter of a late general, out of a selection of suitors she's chosen to marry the unremarkable academic George (Adrian Scarborough.) On their return from a disastrously boring extended honeymoon, George cheerfully settles into their new life, not noticing Hedda's despondency. Feeling like she lacks control, his wife tries to wrest it back by viciously manipulating the lives of those around her.