Nell Gwynn, Shakespeare's Globe ****

Jessica Swale is a brilliant young talent whose impact on the Globe has been a fresh of fresh air. Blue Stockings was fun and beautiful yet challenging, though-provoking and shocking. Now she has written another play for the space about the infamous Nell Gwynn with a send up of theatre in a charming and lavish production. This is such a self-deprecating play that is like a heightened version of Shakespeare in Love with Restoration theatre. You have Dryden, Charles II, Charles Hart and Gwynn very much as caricatures which could be tedious but ends up being belly-achingly funny because of the self aware nature of Swale's writing and Christopher Luscombe's production. The lavish and decadent design from Hugh Durrant evokes the majesty of the theatre and court whilst there are undercurrents of Gwynn's lowly birth through a fantastic yet short performance from Sarah Woodward as Nell's mother who drank from a man's drink. Gugu Mbatha-Raw is comical, feisty and an independent Nell who helps bring a feminist quality to the piece through the comedy. The rest of the cast are also fantastic, notably David Sturzaker's bewildered and fun king and Greg Hastie as the threatened actor who plays the women parts who has a fantastic sequence in showing the many different uses of a fan. This must be the funniest play produced on the Globe stage.

The Oresteia, Shakespeare's Globe **

It would be very tempting for someone, when watching the Globe's Oresteia, to compare Aeschylus' play to the revolutionary Almeida production. Rory Mullarky's adaptation was never going to be as good as Icke's but it certainly is a very different production. This production keeps closer to the original in terms of plot, with a prominent chorus and lots of blood. There are many, many flaws. The views expressed in the final segment need updating and a new approach whereas Mullarky does not resolve some of the more problematic views on gender (when the line 'The mother's just a vessel' is played straight', you start to question this adaptation), Clytemnestra's character isn't developed enough and feels one-dimensional at times, and the dry chorus parts miss out the real 'action' that could feel potentially interesting. Despite this, the rhythms and eloquence of the language suits the majesty and vast space of the Globe. Adele Thomas directs a militaristic and at times surreal production with an off-putting atonal score from Mira Calix and a giant penis being paraded out for no apparent reason in bizarre conclusion to events. Hannah Clark's design mixes Greek tradition with a bloody dystopian future rather well and creates a sense of atmosphere that is similar to Titus Andronicus last year, even if it isn't quite as strong. The cast are solid and convincing in their roles. Katy Stephen's makes the most of her part as Clytemnestra whilst Trevor Fox's Aegisthus is a crazy counterpoint to George Irving's aloof Agamemnon. The Chorus, however, are the most impressive here who are at times divided and are one of the most effective Greek choruses I have seen. I feel sorry for the Globe for the clash of Oresteia's this season however, even without the competition, it is a deeply flawed production that struggles to keep it's audience interested for the long running time.

Heresy of Love, Shakespeare's Globe *****

I always love a last performance at the Globe. At the end of a run, Dominic Dromgoole stands on stage and gives us a chance to appreciate everyone involved in the time we spend their. From the stewards to the hair and makeup,  it all contributes to our experience of theatre and Globe especially should be praised for their high standards and welcoming and inclusive attitude. No production is worthy of praise more than John Dove's sensitive and heart-breaking production of Helen Edmunsdon's Heresy of Love. It tells the story of Sister Juana and her fight for knowledge within the strict Catholic church. The feminist message hits home yet it isn't heavy or clunky as a result. With a similar look to Blue Stockings, Michael Taylor and John Dove create a world of inequality where women are used and exploited within the Catholic church. Saying that, it doesn't attack religion, with a wonderfully uplifting debunking of the Archbishop's sermon that embraces religion and even the odd transubstantiation bits of the Catholic faith aren't dismissed as absurd. Naomi Frederick is a beautiful Juana who is understated yet strong and wonderfully independent. The rest of the cast are unrecognisable from their underwhelming As You Like It, with wonderfully developed secondary characters that you can empathise with being performed with a striking mix of comedy and heart. The tragedy creeps under your skin in the second half, leaving me sobbing as Juana is teared apart. To be honest, this is one of the best things I have seen at the Globe and I am so glad that I was able to catch this poignant and profound production.

Richard III, Shakespeare's Globe ****

After seeing Shakespeare seen through the scope of an Italian composer, it didn't seem that far a step to see him filtered through the Chinese culture and language (in this case mandarin). This production is a pleasure to watch. Xiaoying has created a production that incorporates Chinese culture with Shakespeare's story and without the beauty of the text, you can see the pure talent on display. The murderers are played comically by Cai Jingchao and Zhang Zhiyong as a counterbalance to their acts whilst the murders are carried out with a black sheet being thrown over the victims head rather than in a goldfish bowl or being electrocuted. Wang Jianan extraordinary talent for drums help build up the tension as does the set from Luo Dajun that is showered with blood after each murder. The pure talent of Zhang Hao is astonishing to watch. His Richard rivals Mark Rylance's as a slippery a characterful portrayal that moves like a serpent waiting for it's next catch. Whilst the use of three witches at the beginning made me think that the Tang Shu-wing Theatre Studio had brought their production of Macbeth in early, it made for a fantastic afternoon of drama.

Richard II, Shakespeare's Globe ****

 

 

In between the RSC's Richard II with David Tennant, the choice to programme this play at the Globe this year seemed strange. I am seeing the RSC production in the Autumn but have heard very good things about it therefore this production would need to convince me if it was to compete with Doran's production.
It is safe to say that the RSC will need to seriously impress to top this splendid production. You first notice the amazing set design from Paul Willis, capturing the extravagance and ceremony in the court of Richard and also the religion,with a walkway shaped like a cross or cathedral to capture the fall of a king in a Christ- like fashion. Whilst no one is portrayed particularly well in the play, Richard is the most sympathetic and his fall from grace feels similar to the passion from the overt references to Pilate to being ultimately betrayed by his once loyal follower, Aumerle who is played with fire and wit by Graham Butler. Charles Edward's king is tremendous, showing flare and elegance which descends into raw emotion gradually throughout the play in a way that is painful to watch. Sturzaker is brilliantly dark yet righteous as Bolingbroke, a character that is complicated and interesting to play. The rest of the cast do the production credit and are fascinating to watch. This is another hit from Godwin and the Globe as the season gets into full flow.

The Comedy Store Players, Shakespeare's Globe ***

You wouldn't normally associate the Globe with being a great comedy venue. However, it strikes the balance between intimacy and vast space where comedians can make real money well. In fact, the lovely summer weather made for a great evening to experience comedy. I have never seen these players block before, even though I have heard a radio programme they recorded and was rather unimpressed and had seen both Paul Merton and Josie Lawrence on numerous radio and television appearances and liked both of them. Their act consists of two hours of games and scenes that are prompted by audience suggestions. This is intensely funny for the first 30 minutes. In fact, I was chuckling all the way through the first half at the clever improvisational skills of the troupe. Paul Merton brought me out in hysterics at times and Neil Mullarky worked the supportive crowd very well, mocking the american accent and PE teachers. However, the gimmick lost it's effect in the second half and whilst a crowd of die- hard fans lapped up their musical version of a Sweedish crime drama and 'Julius Teaser', the repetitive nature of the act took it's toll on me and I began to tire of it. You start to notice how they can tightly control to what extent they improvise and what is in fact recycled from gig to gig. Even Paul Merton failed to keep me from growing weary of these parlour games. So whilst the gimmick works, it needs to be shaken up and revitalized to keep my attention for two hours.

King John, Shakespeare's Globe ****

This collaboration between the Globe and Royal & Derngate has finally brought King John to the Globe. This story of power and family feuds on a huge scale is fantastically shown in James Dacre's deeply religious production. In fact, I think this production would suit a cathedral more than at the Globe, with a more powerful effect at the Middle Temple or Salisbury cathedral. I think some intensity is lost in the vast, open space of the Globe. However, despite this, it is still one hell of a show. Dacre combines complex and wonderful music with the elegance of Shakespeare's text. This creates a first rate theatrical production.Having the muscians share the actors space too creates this collaborative feel and further shows how Dacre has given music an equally important role as the text, unlike most of the work at the Globe which stick a band in the balcony. The emotion is raw in this production. When Tanya Moodie's Constance speaks, you feel the pure hatred and desperation for power. The element of religion is brought to the forefront in this production with the choral music adding the heartbreak of excommunication. Perhaps this detracts from the main element of this play which is the grapple for power but certainly helps the audience to understand the motives behind the actions of individuals in the play. Performances are of the highest standard, with Jo Stone- Fewings giving us an icy John which conjures up images of the Disney animation and Peter Ustinov's voice. The ridiculous movements he makes and the weakness shown in the king is done in a way that makes you despise yet pity him at the same time. The ensemble cast also give admirable performances. This production is striking and is one of the best the Globe has produced.

Measure for Measure, Shakespeare's Globe ****

Dromgoole's tenure at the Globe is drawing to a close and he is bowing down from the outdoor space with his last directorial role in a comedy- laden production of Measure for Measure. Dromgoole's typical atmosphere- setting, pre show fun is similar in ways to the Merchant of Venice but not as elegant. The costume's are not as refined and the provocative scenes are slightly more provocative.Throughout the first half of the play, similar scenes take place to light up the less dramatic scenes in way that the phrase 'stinky wife' still brings a smirk to my face. The nudity warned about before entering the theatre isn't as overt and complete as Sam Cox's scene in Gabriel, with no 'frontage' being shown. It also isn't Cox's tapster Pompey that is nude rather Denis Herdman that shows a bit of cheek. It is fair to say that this is a wildly different production than Cheek by Jowl's touring version that visited the Barbican this year. It is wildly comic which means that the drama suffers slightly as a result. That being said, there was one scene between Angelo and Isabella thathad my hairs on end with the emotion on show. Mariah Gale is a satisfying, if not memorable Isabella who plays distressed very well and ticks the boxes well. Dominic Rowan goes from being a drunkard at the Vic to a Duke and monk at the Globe with a fine turn as Vincentio, who is both funny and commanding at the same time. However Kurt Egyiawan is the stand out performance of the evening. His upright and proper Angelo is conflicted, sinister and at times scary. It is exceptional to see. The ensemble cast is also entertaining and fun to spend the evening with. Whilst I would have preferred this play to be played more seriously, the Globe has done a very impressive job at bringing comedy to the forefront of the play whilst still maintaining the more serious elements of this entertaining night out.

As You Like It, Shakespeare's Globe **

The Merchant of Venice brilliantly dealt with the issue of anti semitism within the play, depicting an anti Semitic world rather than being an anti semitic play. This is not true with As You Like It when dealing with the huge problem of sexism. I felt truly uncomfortable as Blanche McIntyres production milks every sexist joke dry with the audience not seeming to realise the content of the joke. At times, this production feels really nasty which is a shame. Not that I think this is a deliberate decision from McIntyre but I feel it is careless for no one to identify this. As well as this, the staging is at best uninspired and, whilst I don't expect lavish scenery, I would quite like to see some attempt to give this production an identity which is lost by a lack of set, meaning that it will just merge into another 'Globe show'. Performances also are quite bland and run of the mill. This means that when Michelle Terry enters, she lights the stage with her clever and funny interpretation of Rosalind. The other actor who is also the exception is James Garnon who is just a joy to watch in his debonair and mocking Jaques. Performances from Daniel Crossley and Gwyneth Keyworth are also rather good but the rest of the cast are rather dull to watch. I'm sure none of them are bad actors, however, they are outshone by Terry and Garnon who redeem an otherwise less than impressive production.

The Merchant of Venice, Shakespeare's Globe ****

 The Merchant of Venice is a hard play to get right. Putting it mildly, it is problematic in issues of race and gender. It is a play full of contradictions. In one moment Shylock gives a truly moving speech about the poor treatment of Jews and the another he is being made to become a Christian as a hilarious punishment. At one point Portia is put up on a pedestal, a prize for suitors to win by picking the right box, and at another she is showing true strength and saving the friend of her husbands life. Whilst no production could nor should censor the antisemitism and sexism out of the play, the Globe's new production makes this a play about antisemitism rather that an antisemitic play due to a poignant and moving end to the show. The big selling point for this production are the Pryce father and daughter who are both excellent. However, to say that they steal the show would be wrong. Jonathan Pryce is moving and wonderful in the role but he never is the star and is instead part of a wonderful company of actors. The start depicts a world of debauchery with a display of anti Jewish sentiment that creates the atmosphere of the production which isn't totally maintained through the piece yet there are dark undercurrents that run through despite some wonderful comic turns from Christopher Logan and Stefan Adegbola. Britton's designs are, as always, brutal and harsh to accompany Jonathan Munby's subversion of Shakespeare's comedy into a tragic piece. Jules Maxwell's compositions reflect the religious aspects of the play well with bewitching singing, especially from Nuno Silva. This is a confident start to Dromgoole's last season at the Globe with a piece that is conveyed with humanity and sophistication along with the laughs along the way.

Othello, Shakespeare's Globe ****

Perhaps my favourite experience of all time was watching my first Shakespeare play. It was in 2010 and I saw the magnificent display of Henry IV part 1 with Roger Allam and Jamie Parker as Falstaff and Prince Hal. I had never realised that Shakespeare could be so funny and, combined with politics and a great battle sequence, cemented my love of te Bard and theatre in general. So how great it was for me to accompany a good friend to his first play. It is a joy to see someone lose that dread of iambic pentameter and all that goes with schools teaching of Shakespeare's plays. The play itself is a heavily cut version of Othello and aimed especially at schoolchildren. This is a daunting task as, as one myself, I know how difficult it is to engage them for two hours without either the audience giving up or the actors. However, if any production can do it, it is certainly this one. It is highly charged and energetic in its telling of the tragic tale, with songs right from the beginning to a charleston dance in place of the traditional jig at the end. The actors are superb in their roles and the design from Hannah Clark wonderfully suits the Globe in transforming it to a battlefield. What was so great is that my newcomer to the world of theatre understood what was going on and has now caught the theatre bug. This is an extremely good start to what I hope to be another successful Globe season.

Farinelli and the King, Sam Wannamaker Playhouse ****

Like Mastersingers, this is a production which wholeheartedly celebrates art and, in this case, it's power beyond just a piece of entertainment. The intimate space of the Wannamaker can display this in a way not many other spaces can. Whilst some seats offer truly awful views, every seat is close to this wonderful tale that plays out. Occasionally I wondered how much of Van Kampen's text is true or not but is excellently written, even if it is overall unremarkable. The performances are great across the board, especially Rylance who does a reverse Hamlet, going from complete insanity to relative sanity in a believable and sympathetic way, even if some of the actions his character commits are hard to forgive. Melody Grove provides a good counterpart to Rylance's mad king, being strong and steady yet with an admirable heart. Sam Crane plays the other main part in this love triangle, portraying Carlo Broschi aka Farinelli even though he really only plays Carlo. His Farinelli, the showman disguising his fragile state, is exquisitely performed by my favourite ever counter-tenor Iestyn Davies who pierces the air when he sings that the hairs stand on end and you just want to hear more. The counter- tenor is the best voice you can hear and to hear it sung by someone as perfect as Davies is a real treat. The piece has a similar sensibility to Gabriel at the Globe two years ago, mixing song and drama well and for those with tickets to see Purefoy as Farinelli, you will not be dissapointed as he is also a fine singer. What stands out in this ordinary drama is some of the finest singing and acting you will see on the West End or in any Opera house. This is what makes it so joyous.

Julius Caesar, Shakespeare's Globe ***

The Cast of Julius Caesar

Shakespeare is rarely as fun as this as Dromgoole won me over in the last performance of Caesar and my last Globe production of the season.The show won me over from the start with a puppet show in the groundling's queue giving the background to Shakespeare's errors in the play. This is what Dominic Dromgoole is great at, creating theatre which has atmosphere and excitement. Being the artistic director of the Globe, he understands the Globe the best, making Shakespeare's gaping script errors seem non- existent. Whilst the play has now come to a close, due to cinema screenings next year, I will keep spoilers to a minimum, however, there is a superb interpretation of the text at the end which left me with a huge grin on my face. I don't think Irving's Caesar sets the world alight but the young senate more than make up for it, with Thompson's divisive Anthony played almost perfectly. Having seen the 'Freinds, Romans, Countrymen' soliloquy (not the Carry On one) performed by James McAvoy, I couldn't see Luke Thompson holding a candle to it. Whilst he is not as good, obviously, he still maintains an emotionally driven performance. At times, the pace tended to drop but apart from this, it is certainly a production to remember.

Pitcairn, Shakespeare's Globe ***

Pitcairn is a play about the island, based around when the British discovered it and the destruction that ensues. From the writer of Great Britain, One Man Two Gunors and Made in Dagenham the musical, Richard Bean here has gone along a slightly darker twist. There is something inspiring about the writing here. It manages to maintain a level of humour whilst having genuine intrigue. Within the play, there a several divisions that appear; namely class, god, gender and race. One minute the division on the island is due to the gender of the islanders and next they are arguing about God and science with relative ease. The acting is also fantastic, with all the actors putting in equally fantastic performances. No one stands out as being perfect but the play chugs along nicely. The set also works well in juxtaposition to it's venue. Despite all of this, however, when all put together, it doesn't quite work as a whole. I really enjoyed it but I can not say that it holds a candle to Bean's earlier work and will never be as memorable or as exiting as Great Britain.

Comedy of Errors, Shakespeare's Globe ****

Matt Doherty, Matthew Needham (Antipholus of Ephesus), Andy Apollo (Gaoler/Officer), Harry Katsari in 
The Comedy of Errors 

I have always known through word of mouth that Shakespeare's Comedy of Errors was more error than comedy so I was anxious going into Blanche McIntyre's production. I was wrong to be anxious. The atmosphere at the globe was electric perhaps only equalled by Henry IV in 2010 as the actors fell about the stage in a comedic fashion. The farce , in a see how they run fashion, starts with a Dromio trying to get a pair of pants hanging from the roof. This sets the tone for the play. It is a rip roaring, rollicking production with almost everyone, bar Lucianna, giving an above good performance. I would like to see how te good people of Keswick can offer when I go and see this play up there in October.

Doctor Scroggy's War, Shakespeare's Globe ***

 

The other West End piece on World War One which I have seen this year was the tragically awful Versailles by David Gill. So, this Globe production had to be better.

Doctor Scroggy's War is a million times better than that piece about coal distribution yet still felt incomplete. The plot is about a young boy who joins the war, is injured and left in the care of Major Giles Gillies. I found the play itself somewhat too blatant with obvious reverential remarks on the British class system. Brenton's use of asides also seemed slightly out of place. However, the cast more than make up for shoddy script work. Full of Globe veterans, James Garnon steals the show as the plastic surgeon and establishing himself, in my mind at least, as one of the greatest British actors on the stage. His comedy in this and as Caliban in The Tempest as well as his darker side as the cardinal in th Duchess of Malfi. Catherine Bailey also puts in a blinding performance as the live interest of Twigg. However, the pinnacle is Bill Lyons music which was just beautiful from start to finish. So all in all, despite poor script work, the cast and musicians  turn what could be a clunky period piece in the style of Versailles, into a relatively pleasent evening.

Antony and Cleopatra, Shakespeare's Globe ****

Eve Best and Clive Wood as the titular characters in Antony and Cleopatra

Copyright Manuel Harlan

So far this season at the Globe, they have relied on blood, gore and shocks to interest the audience. Holy Warriors uses overly loud gun sounds and blood capsules every few scenes whilst Titus Andronicus has had people fainting at each performance due to the gore. How refreshing, then, to see the Globe rely on Shakespeare's words to engage the audience. This production of the tragedy could easily climax in a blood fest but it shows a truly great production who would make the Bard's words a priority. This is a true return to form from the Globe as it is productions like this which made me excited about Shakespeare. Eve Best gives a admirable performance as Cleo. This production sidelines physical beauty for a queen with a great personality. Clive Wood is also fantastic as her Antony and the ensemble gives some of the best performances of the year. What this production highlights to me is the atmosphere created with ensemble singing. The Globe should put on more musical pieces here. Jules Maxwell has composed some great accompaniment to the play. This is the best production of the season at the Globe so far.

King Lear, Shakespeare's Globe **

Joseph Marcell in King Lear

Having seen this production last year, I was intrigued to what changes they would make to a far from perfect rendition of Shakespeare's great tragedy. However, whilst I was engaged for the best part of it, there was no great change. There was an overhaul in the actors with only Lear, the Fool/ Cordelia and Regan staying in their roles. Apart from Beth Cullinane and Marcell, I found the actors slightly overacted their roles. It just seemed like a student production. They did seem to enjoy the experience of performing at the globe but that  response was not equaled by the audience.

Holy Warriors, Shakespeare's Globe ***

John Hopkins (Richard the Lionheart)
 Sirine Saba (Berengaria of Navarre/Queen Sibylla)
 Alexander Siddig (Saladin) and Daniel Rabin (King Guy of Jerusalem) in Holy Warriors

 In this new play by David Elridge, he takes us on a journey through 800 years of history and how the crusades have had affected events through time. This visceral piece is delightful the whole way through. It starts with an atmospheric Arabian chant and makes you stand back out of sheer admiration for this piece. As an altar boy, throughout I experienced severe thurible envy (see picture top centre) and multiple scenes, including the opening one, reminded me of the sacred ostent of church. However, the grandure and pomp is also what detracts from this piece. It is so awe- consuming that it is hard to be drawn in and be immersed in the piece. Perhaps it is the fact that 800 years is perhaps too ambitious a time range to capture or whether it is just that the characters are too hard to break into so when they die, little pain is felt by the audience. The premature death in the play, I thought, should have had more impact but instead was just taken in; another piece of information for the audience to digest. However the scale of this production is rarely done by the Globe, except perhaps in Titus Andronicus, so designer Mike Brittonmust be applauded for his fantastic set.

The whole piece is spectacular and is yet another triumph for the Globe and, whilst not emotionally engaging, succeeds in a feat that few people would dare do.

Stephen Warbeck Ensemble, Sam Wannamaker Playhouse ****

 

The Sam Wannamaker Playhouse

Left slightly cold by the disappointment of The Last Days of Troy, I needed this concert to lift up my hopes for the Globe. Luckily, it did just the job. The theatre itself still takes my breathe away, with a better chance to see all of it's wonders from the pit. Warbeck himself is a genuinely funny man who tied up each piece sublimely with anecdotes and with a genuine sense of camaraderie between the members of the ensemble who enthusiasm for each piece rubbed off on the engaged audience. The pieces themselves evoked many emotions from melancholy in the Wolf Hall pieces to joy in the Two Brothers piece 'To Freedom'. My personal favourite was the Young Doctor's Notebook. This piece, which apparently was critiscised by many, was upbeat, with a Jewish sensibility to it and was generally a pleasure to listen to.The ensemble is extremely talented with special notice to Sarah Homer who did a sterling job on a range of woodwind instruments. Overall, a terrific evening.

Find more concerts by candlelight at http://www.shakespearesglobe.com/theatre/whats-on/concerts-by-candlelight.