Posts Tagged ‘Dominic West’

And so another year draws to a close, and it’s time to look back on another theatrical year. Here are the TheatrePunk awards!

So, in no particular order, here are the top ten. These represent the most fun I have had in a theatre this year. They may not be the best things to be staged in Britain this year, but they are the shows that gave me the most pleasure. The shows that I recommended to friends, sometimes saw twice, or the ones that really gave me something to think about. In summary, they are my favourites of the year…

Matilda (RSC)

Just an absolute joy from beginning to end. Intelligent, moving, funny and with a soundtrack that sticks with you and for two hours turns you into a child again. It was one of the best musicals I’ve seen in years, and I’m absolutely delighted that, having already had its sell-out run extended, it appears to be settling down for a long West End residency.

Frankenstein (National Theatre)

Probably the theatrical event of the year, and I’m sure it’s a show that will be appearing in many ‘best of the year’ pieces. Benedict Cumberbatch and Jonny Lee Miller were incredible in Danny Boyle’s return to the UK theatre scene. I saw this with Jonny Lee Miller as Frankenstein’s monster and Benedict Cumberbatch as the doctor. They both shone, and perhaps because of that, the piece marked another triumph for the NT Live screenings, which allowed people to watch the cast in their alternate roles.

Journey’s End (Touring Consortium)

As a fan of anything related to the First World War, I was really looking forward to seeing this show. I certainly didn’t expect it to be as brilliant as it was. It was just spectacular. A masterclass in acting superbly staged and sensitively tackled. It was one of those shows that played on my mind for a long time afterwards, and remains one of the best adaptations I have ever seen.

Operation Greenfield (Little Bulb Theatre)

One of the few shows I saw twice this year. I was simply too good to only see once. Little Bulb have been quietly bubbling away for a while now, creating fun fringe pieces which challenge audiences and demonstrate the supreme talents of the small company. All actor-musicians.  The music in this piece is the thing you will take away with you more than anything. ‘Summer Flowers’ was a classic, ‘I am the True Vine’ was another, but ‘Zachariah in the Temple’, Operation Greenfield’s final triumph is the song that left you wanting to leap for joy.

Alvin Sputnik: Deep Sea Explorer (Weeping Spoon)

If this were a list from ten to one, then there is a very good chance that Alvin Sputnik would top that list. It is, to put it simply, my play of the year. I can’ do justice to it’s brilliance in a paragraph, so I’ll sum up. It is a one man show about a man who dives to the bottom of the sea in pursuit of the soul of Elena, his wife. The story was perfectly executed using a circular screen in centre stage, a wonderful moustache, and one of the best puppets I’ve ever seen. Alvin Sputnik was a white glove and a white foam ball. It was theatre at its very finest and something every theatre fan should see.

Translunar Paradise (Theatre Ad Infinitum)

Sometimes I am so grateful for twitter, as without the buzz I saw on there I would never have spotted this little gem. Theatre Ad Infinitum have created a beautiful little show which certainly gets my ‘Best Show at the Fringe’ award this year. A simple story about an elderly man mourning his wife, it used masks and an accordion so effectively that every single person in the audience was crying by the end. I believe the show is now on tour so is definitely worth a trip – though bring tissues. Many tissues.

One Man Two Guvnors (National Theatre)

It’s about to transfer to Broadway following an extended run at the National and a transfer to the West End, which demonstrates just how popular this show has been. James Corden shines in this traditional farce, and demonstrates that he’s not just ‘Smithy’. Richard Bean’s script is tight, with jokes packed into every single moment. The dialogue is funny, but the physical comedy and slapstick is even funnier. Using traditional Commedia set ups gives the whole thing a structure and clarity that is rarely seen in comedy. Certainly worth the hype it has received.

Othello (Crucible Theatre)

This is my favourite of Shakespeare’s plays, which means I’m hyper-critical and very difficult to please when it comes to new productions of it. As the first paragraph of my review demonstrates, I hold a grudge. So I was delighted to find that the Crucible’s adaptation of Othello was brilliant. It was performed in a traditional style, allowing Shakespeare’s language to do the majority of the work. Dominic West was the best Iago I have seen, revelling in the maliciousness of the character without ever becoming repellent, a difficult task indeed!

Dunsinane (RSC)

I think this was too quickly dismissed by many. In my view, this represents one of the best scripts I’ve read this year. The writing was really sharp, with relevant points and a pace that made the whole thing trip along quite nicely, despite the strong subject matter. Jonny Phillips was also brilliant in the role of Siward – every time I see him he’s great, which makes me think that anything he’s in next year is probably worth a look.

Wastwater (Royal Court)

As a fan of new writing (though looking over this list, you wouldn’t know it) I am a massive fan of Simon Stephens. This trilogy of tales were all really strong, in my opinion, and provided a lot of food for thought  about relevant issues and social situations. I loved the scenes in the hotel room, and the way in which what was being left unsaid was much more important than what was being presented. It was a really strong piece, and the script has given me many joyous hours of reading and rereading.

If this were a top fifteen, the next five would be…

The Wild Bride (Kneehigh Theatre)

The Heart of Robin Hood (RSC)

Richard III (Old Vic)

Our Private Life (Royal Court)

Frisky and Mannish: Pop Centre Plus (Frisky and Mannish)

The Theatre Punk Special Awards 2011

Best Tearjerker

Honourable mentions must go to Alvin Sputnik, and Love Letters Straight from the Heart, but the winner for this has to be Translunar Paradise by Theatre Ad Infinitum. A play so sad that I ran out of tissues, because I was sharing them with the two people sitting next to me. The term ‘not a dry eye in the house’ is used too often these days. Translunar Paradise demonstrates that sometimes that’s really true. Every single person in that audience was crying.

Annoyed that I paid the ticket price award

13 at the National. Annoying because I had an inkling it wasn’t going to be brilliant, but I like Mike Bartlett and keep ignoring the times he disappoints me. I’d like to think it won’t happen again, but…

Numb Bum Award

Richard III at the Old Vic. Kevin Spacey was spectacular, the show was brilliant. But did it really need to be three and a half hours long?!

Daily Mail baiting award

Marat/Sade at the RSC. Over the din of the anal rape you could still hear Quentin Letts grinding his teeth in fury.

Up and Comers award

Curious Directive. Your Last Breath at the fringe showed real promise , and a style that was reminiscent of Complicite. Definitely a company to watch next year.

 Worst of the Year

This is the one everyone really wants to know, right? Well my award goes to Woyzeck on the Highveld by Handspring Puppet Company. Just dreadful from beginning to end. Badly written, poorly structured, and perhaps the most surprising of all, the puppetry was fairly slapdash. Simply had no redeemable features.

Happy Christmas fellow Theatre Punks, and we’ll see you in the new year!

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17/09/11

On seeing the RSC’s Othello, directed by Kathryn Hunter, I swore never to see another production of Othello again. It is my favourite Shakespeare play, and she butchered it. Never again would I witness Shakespeare’s greatest villain laughing like a pantomime baddie as the curtain came down, never again would I see my favourite of Shakespeare’s stories ruined by someone who just didn’t get it…yet two years later, here I am.

I have never seen The Wire, so it was not the lure of Dominic West and Clarke Peters that drew me; but I did want to remedy the damage that Kathryn Hunter did, and pay another visit to my favourite play. Directed by Daniel Evans, this Othello is presented in traditional garb and traditional simplicity, but don’t for any second think this is boring. This is one of the most psychologically detailed and rich productions of the play I have seen – and I’ve seen a few!

From the opening scene we see Iago, a plainly spoken Northern soldier. He is not the spider we see in other adaptations of this text, nor is he some master chess player, moving the pieces to suit his own end – instead he is a negative, destructive bull of a man, who’s surface honesty is such, that it is totally unfathomable to anyone around him that he could be villainous. This is the only interpretation of Iago I have seen that drew laughs from the audience – even in moments of abject horror, the audience are complicit with Iago and are almost on his side, despite the horror of his actions.

West’s grip of the dialogue is such that nothing is thrown away, and we see the bitterness simmering just beneath the surface. The best example of this is when Emilia calls him ‘honest‘, drawing attention to his working class background among officers, he sneers in hatred, before gritting his teeth and barking out a sarcastic laugh, leering in at Emilia as he does it. It is a moment that sends a chill down the spine. West’s Iago moves from one reason to another in a bid to explain why he does what he does – he is angry at being passed over for officer, he hears rumour Othello has bedded his wife – but this Iago in such a way that even he isn’t really sure why he does it.

I’ve always found Othello a difficult role – he is incredibly intelligent and eloquent, charming the court and Desdemona’s father with the story of their courtship, yet he falls for Iago’s lies so easily. Peters is compelling, but I found his portrayal erratic. It is only because I’m so familiar with the text that I was aware of it, but he appeared to reword some of the lines, and in some cases, forget to say them altogether.

It seems Peters fell into the ‘Shakespeare trap’, as my old tutor used to call it, wherein he tried to force emotion through the dense dialogue, instead of allowing the text to do the work for him. I did see this play very early in the run, so I hope this is something he has now remedied, as I’m sure there is potential for a mind-blowing performance. Saying that, Peters had some moments where he rose to the challenge, particularly when playing against West, who seemed to bring out the best in Peter’s performance.

There’s also some fantastic work from the supporting players. Cassio, played by Gwylim Lee solves the problem of Othello’s jealousy coming from nowhere, by actually giving him something to be jealous of. Cassio is a smooth-talking, charismatic, Florentine gentleman, who clearly has chemistry with Desdemona. Even though that chemistry isn’t acted upon, it’s not at all surprising that Othello suspects the pair, and it’s not surprising that Iago selects him as an enemy. Iago lingers over the fact that Cassio, unlike himself, has never seen battle, and only knows of a soldiers life through books – yet he takes the officers job over the ‘honest’ Iago. Hell, I’d be looking for a bit of revenge if I were Iago!

Alexandra Gilbreath’s Emilia, the put-upon wife of Iago, is another little gem. Emilia lights up the stage, beautifully portraying the entire spectrum of emotions Emilia goes through as she skirts around West‘s barrelling Iago. The maternal relationship she has with Lily James’ Desdemona is really quite touching, and her guilt, as she gradually becomes aware of her role in her husbands scheming, is breathtaking. It’s just a fantastic performance of a role that is often overlooked.

Morgan Large’s set is deceptively simple, and incredibly well used. With a looming stone wall at the rear, and a beautifully constructed mosaic of the floor which subtly shifts throughout the performance, the space is left completely open and interchangeable. The production as a whole was incredibly strong throughout – in previous adaptations directors have focussed on the possibility of Iago’s latent homosexuality, or the idea that Othello did indeed bed Emilia, but Evan’s production does not make such presumptions. Instead this show presents Shakespeare’s text exactly how it is written, and no doubt not a million miles away from how it was originally performed, with its many verbal nuances and shades, open to any interpretation an audience member wishes to make. I am rarely disappointed when I visit the Crucible, and this is just another example of the great work they’re doing up there.

There are certainly ups and downs in this production, but it’s rare to get such clarity in a production of this play, and it’s worth the trip up north simply to witness the best portrayal of Iago I have ever seen.