Not now.

I shall sit in state
wearing my smart anorak,
flaunting a glittery stick.
I shall nod at my friends
and say hello to strangers.
I shall know the names
of people who I dislike,
have my say,
take my time.
But not yet.

I shall compare ailments
with someone who will not be bored.
I shall locate the exact position
of my aches and pains
while I watch the nice man on tv.
I shall take all morning to do a small shop.
I shall have opinions,
take umbrage……….
But not now.
Not yet.

I shall put a sticker on my door
saying, no cold callers,
peep out from behind net curtains,
and turn the heating down.
I shall deadhead my roses,
watch and be watched……….
but not yet.
Sometimes I am tempted
but please God,
not now.
Not yet.

For the time being
I shall find my own patch of sunlight
and stand in it bravely,
waiting to be noticed.
I shall take the final chocolate
from the opened box
and eat it all at once,
slurping.
I shall look back
without wondering ,
did I waste my time?
I shall survive.

Advertisements

Winter Solstice. Actors Touring Company and Orange Tree Theatre at the Stephen Joseph Theatre. 5-4-18

Roland Schimmelpfennig, one of Germany’s most performed playwrights, wrote Winter Solstice during 2013 and 2014 as a response to the rise of the new right in Europe. It is the story of what happens when Corinna, a naive, lonely older woman invites Rudolph, a plausible stranger who she has met on a train, into the family home of her daughter Bettina and her husband Albert. They are educated liberals, a film maker and a writer, whose marriage is under strain. It is Christmas and Rudolph doesn’t leave. To start with he is delightful in the eyes of everybody but Albert, until slowly his true nature is revealed, although we are never sure how much of what follows is real and how much is happening inside Albert’s over-medicated head.

You have to think hard to keep up with what is happening as this is a thoroughly Brechtian play, full of artifice. How the story is told is every bit as important as the story itself. It starts in a production meeting for one of Bettina’s films and we are never allowed to forget that we are in a theatre as the cast both play their characters and narrate the action. There is no set and the jumble of props and metal trestle tables from that original meeting are moved around with great speed and accuracy throughout the play to tell the story and used to signify whatever might be needed. The whole production is very cleverly directed and devised and makes some powerful and timely points about the insidious nature of populism and political manipulation- this is a play which is designed to make you think rather than touch the heart. It must have packed quite a punch when it was first seen at home in its original language. It fitted in the round at the SJT beautifully with the cast opening it out and sometimes speaking directly to the audience. I was more in awe of their technical skills than their characterisation as I watched them at work, delivering lines in and out of character at speed, making sure that everything was there in the right place at the right time and finding drama and humour in quick succession.

This was clearly a really well made piece of theatre, recast and redirected from a production that won four off West End Awards but, while I am very glad to have seen it, it wasn’t really for me any more than Brecht is. Having said that, it is the first time that a stranger has seen me in the audience, recognised me the following day and stopped me in Filey wanting to talk about a production, so they must have been doing something right. I think Roland Schimmelpfennig would probably be quite happy about that.

Napoleon Disrobed. Told by an Idiot at the Stephen Joseph Theatre. 22-03-18

Production photograph by Manuel Harlan.

Napoleon disrobed, a “comic alternative history” of what happened to Napoleon after he fell from power is a playful and inventive piece of theatre, typical of the work of Told by an Idiot, directed by Kathryn Hunter who knows a few things about theatre. It takes risks and asks its audience to go with it. It is the kind of telling that only works on stage which is always a good sign. As we see Napoleon attempting to come to terms with his loss of power and wondering who he really is, we are asked interesting questions about status, power and control in a lighthearted, absurdist way. There is a lot to enjoy, above all two technically accomplished and focused performances from Ayesha Antoine and Paul Hunter. They have to think fast and keep their timing perfect, both vocally and physically. Paul Hunter engages with the audience and has some moving moments where we see him as he once was while Ayesha Antoine plays a number of parts with style and charm. I was delighted to see her back here again. Kathryn Hunter has asked a lot of them- the direction is fast and often quite technically demanding. The audience are part of the action throughout and playing a character and managing the physical demands of the show while keeping it moving forward must feel a bit like juggling.

The stage itself, designed by Michael Vale, is a wooden platform which can be rocked or raked and have things hidden under it via trapdoors- a wonderful tool which the production makes full use of- and the backdrop is made of three coloured lengths of cloth forming a tricolour. It’s a clever and versatile setting.

This is a very good production- it has worked well elsewhere and it will work well again- so why did I feel that the performance I saw didn’t quite take off at the SJT? Firstly, to allow for the staging, part of the round had to be screened off so we were on three sides rather than in the round. The round at the Stephen Joseph is never a comfortable space when that has to be done. There is a sweet spot, a connection with the audience, which is lost and what is a very special space seems to sulk. Napoleon Disrobed relies on that connection and on this particular afternoon too many of the matinee audience I was part of were uncomfortable with it rather than delighted. From my seat I was looking across at the tiered audience on the other side so I didn’t have to guess about that. They were wondering what was going on rather than allowing themselves to follow a flight of theatrical fancy. It was their loss. Maybe they hadn’t read the words “comic” and “alternative” in the tag-line. The one moment which they really made work was when those who had been given paper Napoleon hats were asked to stand up,look at Napoleon and copy what he did. As they pointed and put on their hats they were serious and uncertain and the effect was genuinely eerie. If only the audience had worked as hard as the cast things might have been very different.

The Merry Go Round.

So long ago, too long ago,
when the world was new,
there were endless hours
with so much to do,
Long afternoons, gilded with sun,
so many beginnings,
a race to be run.
I sat in a blue ship
time spinning around,
sand on my feet,
ice on my tongue-
a tiny adventurer,
waving at mum.

Now I am watching
from the far side of the years,
listening to voices
which nobody else hears.
A small child scrambles
to begin a new ride,
waving and bouncing,
mum bursting with pride.
A few things have lasted,
though many are gone,
there is no bus, no motor bikes,
but the ship sails on.

Somewhere hidden
under thick layers of paint,
the times I remember
grow distant and faint.
Figures are waving,
sketched in black and white-
people I remember………..
almost out of sight.
Swirling in the shadows
as the world turns,
and the rhythm of memory,
slips away and returns.

Amadeus. National Theatre. 13-03-18

Adam Gillen as Wolfgang Mozart in Amadeus at the National Theatre (c) Marc Brenner

“Forgive me, Majesty. I am a vulgar man! But I assure you, my music is not.”
Wolfgang Amadeus Mozart.

Watching the National Theatre’s revival of Amadeus is an overwhelming experience. I only wish that its author Peter Shaffer had lived to see it. It is a very personal, intense story of jealousy and hubris; a small but marketable talent which has brought social success set against the kind of genius which will always go its own way and scatter everything before it, even when given to a rude, annoying little egotist. However much Salieri, the established “court composer” fights against the young upstart Mozart and puts obstacles in his way to make him suffer there is only going to be one winner. The “voice of God” which pains him so much may come from an “obscene child” but it is still the voice of God and only that can confer immortality.

The play demands two great central performances and Lucien Msamati as Salieri and Adam Gillen as Mozart deliver them in spades. Both characters are deeply sympathetic as well as flawed.

Lucien Msamati appeals directly to the audience from the start (as fellow mediocrities) and we know how he feels. He commands attention alone on stage or rises above a spectacular tumult of music and action seemingly effortlessly. We may not like Salieri but we can understand him. He is our alter ego and who can say that they would not have behaved as badly as he did when provoked by a far greater talent which appeared in the form of someone with no social graces or sense of the politeness and restraint necessary to succeed at court? The rules which he had lived by were being thrown aside. He was good enough to know how far he was surpassed but not good enough to do anything about it and that is a bitter pill to swallow- one that we all have to force down.

Adam Gillen as Mozart is just extraordinary. It is easy to show us the hyperactive, egotistical little upstart and he does, but what makes him extraordinary is that we also see the heart of the music. He is a vulnerable young man who has been denied a normal childhood, made to work frantically with a strict discipline that has left him with a need to let rip. That kind of childhood leaves a scar and he shows us both the genius and the lost child. It is a performance that I will never forget. His costumes are utterly perfect too, which always helps. Adelle Leonce is a perfect wife for him as Constanze- not an easy job- and they make a believable couple.

The director Michael Longhurst took a huge risk in this production and needed all his considerable skills, along with the choreographer Imogen Knight, to marshal both the cast and the South Bank Sinfonia who appear alongside them and play Mozart’s music live. This opens out the text gloriously, making what Salieri is telling us come to life, and allowing us to see the joy and freedom that Mozart finds in his music as he conducts. Their discipline is immaculate and they have been given complex direction, moving around and commenting silently on the action as they play. Their timing is perfect throughout. The design by Chloe Lamford is spectacular. The Olivier revolve and the whole of the space is used to great effect as we are shown different perspectives and viewpoints and the costumes are colourful and witty, period with a twist. It is beautifully organised too- we always know exactly where we should look. This production doesn’t just fill the huge and notoriously difficult space, it commands it and batters it into submission. It is a complex and ambitious concept which was either going to fall flat on its face or soar and it is thanks to the talent and, perhaps even more than that, the discipline of everybody involved that it takes flight.

I think that the biggest compliment I can pay this production is that if I ever see Amadeus again I want it done in exactly the same way and if Adam Gillen can come back and play Mozart again that will suit me just fine.

Hamlet. Royal Shakespeare Company at Hull New Theatre. 15-02-18

Paapa Essiedu as Hamlet. Production photograph copyright RSC.

The RSC, only an hour away, with a production of Hamlet set in Africa that I had wanted to see in 2016 and missed, and Paapa Essiedu, who I had admired as Romeo for Tobacco Factory, playing Hamlet. It is fair to say that I was excited as I made my way to the New Theatre in Hull on the train.

I liked Paapa Essiedu’s Hamlet very much. I believed in his grief and his anger. He was warm and engaging- a nice guy- and in better times he might have been a happy and uncomplicated young man. He handled the soliloquies beautifully with fine timing and a clear understanding and made a real connection with the audience. I missed some of the humour and the sense of danger that I feel Hamlet should have but he had clearly looked inside himself and found the part which is what every actor playing Hamlet needs to do. If an actor is brave enough to do that for you in some ways you can have nothing to complain about- each person will find something different.

The rest of the cast were new for the 2018 tour. Lorna Brown looked wonderful as Gertrude- plenty of style and hauteur- and Clarence Smith was a convincing Claudius although I didn’t really feel the turmoil as their world fell apart later in the play. Mimi Ndiwene was very moving as Ophelia. She had real warmth in the early scenes and delicacy and grace as her mind weakened. The other cast member who really impressed me was Ewart James Walters as both the ghost and the first gravedigger. He had great presence and authority.

The African setting brought with it plenty of colour, some exciting drumming, and a fine stage fight at the end, but while I can easily imagine the events of the plot transposed to a small corrupt country on that continent I’m not sure I really felt the reality of corruption and threat at the heart of Elsinore as strongly as I would have hoped. It should have worked much more strongly than it did. That has to be down to the direction from Simon Godwin. I would like to have seen the original production as a comparison. There was a bit of awkwardness in some of the stage positioning too which perhaps came from adjusting to a fresh venue, although I liked the way that the auditorium was used, especially for the ghost.

It was a great treat to be able to to see the RSC so close to home in East Yorkshire and while there were plenty of empty seats- money is tight for many of us on the East coast- those of us in the audience were delighted to see the company. There were young children in the audience who were completely enthralled and people standing at the end. It is always easy to come away from Hamlet musing over what you didn’t feel was quite right, this is one of the things that makes it worth coming back to see it again, but nothing should take away from the fact that the RSC had come to Hull. I really hope that they come back. We need them.