Posts Tagged ‘Emily Garside’

h1

Hamlet at the Almeida: A review by @EmiGarside

April 2, 2017

Hamlet Almeida

A review by Dr Emily Garside

Hamlet is a play that is familiar even to those with no direct experience of the play – whether it’s a general knowledge of a much-adapted plot or the countless lines that have made it into common usage. So it is an achievement of a director and cast to not only make the production feel fresh and innovative but also for lines so often uttered they are virtually cliché to sound new.

Robert Icke, former artistic director of Headlong, now associate of the Almeida inserted new life into Oresteia last year, and it’s in a similar vein he has approached Hamlet, starring Andrew Scott as the Danish Prince. The production is modern dress and makes use of video technology but it’s period is indistinct, at times feeling in the present moment, others having a slightly futuristic air.

The major change it feels Icke has made is a shift in pace to the expected ebb and flow of the piece. Gaining infamy for a nearly four hour running time, it doesn’t feel like the theatrical marathon it is. There is a natural pace to the overall piece, and within each scene, down to each line that Icke seems to have taken apart and put together again. Although the first segment is familiar in its staging, approach and length, there is a clattering towards a finale that despite some additions – some from the first Quarto lines, some dialogues additions to staging – that give this take a freshness.

The contemporary staging – so often nothing more than some suits and contemporary furniture – is woven into the staging effectively. The play opens with news footage of King Hamlet’s funeral, and across the play video is used, from a Skype meeting with the ambassadors, to filming The Mousetrap, through to war footage and final evocative images that show integration and addition of film and stage at their most effective. Most engaging of this is the staging of play-within-a-play The Mousetrap in which when Claudius storms out, disrupting both the staged performance and the filming of the royal family, the ‘Pause’ created is so realistic for a moment it feels like there is something genuinely wrong. These elements of meta, thrown back onto the audience across the play, make for an engaging and challenging reading of the well-worn Hamlet.

Of course, any Hamlet is only ever as good as the actor playing the title role. And again, Andrew Scott brings to light elements of the part that even in those moments that usually feel so familiar, there is a different slant to Scott’s performance that creates a freshness. The early and end scenes are emotionally charged and made for the most moving portrayals of the part in memory. In the early scenes, Scott veers from quietly grief stricken to unhinged and over the top from moment to moment. Scott’s balancing of the two elements of grief stricken and depressed works, and although at times the moments of exuberant grief and madness may seem ridiculous, it is because Hamlet himself is indeed at times ridiculous. The intimacy of the venue works in favour of this portrayal as well, with the loud, abrasive Hamlet feeling too close to be comfortable, and the quiet, reflective Hamlet feeling intimate and moving.

Robert Icke’s production has successfully re-invigorated Hamlet in his staging, using the contemporary elements rather than simply creating a backdrop of them. Meanwhile Scott’s Hamlet offers a different take on the classic role, and perhaps one unexpected from the actor. He is a contemplative, but emotional Hamlet, caught in a changing world on both a personal and political level. It’s an intellectual challenging Hamlet for the audience, but also one which resonates with the underlying emotion of the piece.

Visit the Almeida website

h1

Richard III Trafalgar Transformed – Cardiff Shakespeare Review

July 30, 2014

Review by Emily Garside (Cardiff Metropolitan University)

Richard III directed by Jamie Lloyd as part of his third ‘Trafalgar Transformed’ series, sees an updated and bloody account of the history play. Lloyd aims with his ‘Transformed’ season to ‘thrill audiences while stimulating open debate and dialogue around the issues central to each play’ For Richard III with Martin Freeman in the title role and a fast-paced and bloody direction, there also seems to be an emphasis on the director’s desire to develop a new more diverse audience.

The production moves fast, at 2 hours 30 minutes, and it feels like a pacey political drama with added violence. Substantial cuts made to the text would probably go unnoticed to those unfamiliar with the text, and the narrative flows well making this an accessible engaging version of the play. In addition to the cuts, many of the off stage deaths are brought on stage, often in graphic detail. Much has been made of the violence and sheer volume of blood in this production (those in the first three rows are warned of being in a ‘splash zone’) and while, yes there was quite a bit of blood it didn’t’ feel particularly gratuitous. Seeing some of the usual off-stage deaths also brought characterisation or motivation home, further fleshing out what we already knew or felt about some characters. The end fight-‘showdown’ actually seems more appropriate, made good use of an issue that troubles many modern-dress Shakespeare plays, how to deal with the imbalance between guns and swords. In this case effective use of guns versus the knives (rather than swords) across the play makes a profound statement of violence at its close.

The 1970s political setting works well for Lloyd’s pacey production. It also works well in some of the slower scenes, in fitting with the back and forth and posturing of political debate. The claustrophobic set – the entirety of the action set in a cabinet office – also works well with the political heat and (literal) back-stabbing of the narrative.

The cast is strong, with a reduced cast fitting the edited nature of the text – stand out performance in particular from Jo Stone-Fewings as Buckingham who delivered a conniving and dark performance. Gina McKee as Queen Elizabeth and Maggie Steed as Queen Margret also provide strong female roles in this testosterone filled play. Freeman’s Richard goes against a more common approach to bring a more cautious, calmer but no less nasty Richard to life. I fully believed his attitude, inspired by his physical deformities. In his scheming he is a carefully planned and poisonous, in that sense a true politician Richard. Personally I missed the charismatic scheming Richard I’ve come to associate with this play. It is still an accomplished performance and fully in fitting with what Jamie Lloyd is trying to achieve with this modern political production.

 

Find out more here.

 

 

p.s. Cardiff Shakespeare has a new twitter account – at the same handle @CardiffShakes. Please re-follow!

 

Nature Writing in Wales

A Creative & Critical Writing PhD Sketchbook

Dr Charlotte Mathieson

Website of Dr Charlotte Mathieson

Shakespeare Institute Library

Info on Shakespeare, Renaissance literature and other useful library and research stuff.

GEMS

Group for Early Modern Studies

annesophierefskou

Anne Sophie Refskou

We Are Cardiff

A blog about Cardiff, its people, and the alternative arts and cultural scene!

cityawakenings

Cities. Culture. Regeneration. PhD Musings.

Lets pay more tax

Elspeth Jajdelska

Dr Johann Gregory

An Early Career Academic with special expertise in English Literature & emerging expertise in Creative Economy

Dr Alun Withey

Welcome to my blog! I am an academic historian of medicine and the body, and 2014 AHRC/BBC 'New Generation Thinker'. Please enjoy and let me know what you think.

Thinking in Arden

Blog posts, mainly Shakespearean

The 18th-Century Common

A Public Humanities Website for Enthusiasts of 18th-Century Studies

ESTS

The European Society for Textual Scholarship