Shakespeare in Love - Noël Coward Theatre

Shakespeare & Viola

Vivat Regina! VIVAT REGINA! This was a play version of the film comedy of the same name. It tells the story of William Shakespeare as a youngish playwright (circa 1594), losing his writing mojo and regaining it through the power of romantic love. Having fallen passionately in love with noblewoman Viola De Lesseps, Shakespeare is inspired to write Romeo and Juliet, which he does throughout the play; the themes and emotions in Romeo and Juliet reflecting what is going on in his own life.

I'm a bit sceptical about films being adapted into plays or musicals, as it seems very commercial, a way of making easy money. However, I enjoyed this one very much. It had a different feel to the film, which I also enjoyed. Maybe there was more emphasis on theatrical processes (i.e. auditions, rehearsals etc.) in the play than in the film? Or maybe one just got that impression because the set was made up of wooden balconies, in the manner of those in an Elizabeth playhouse, thereby constantly reminding one of the theatre?

The set was excellent; not only were there wooden balconies, but there were also eight chandeliers with REAL candles in them, which periodically glided down from on high. A luxurious-looking four poster bed with bright red coverings was wheeled on and off. 

Theatre directors and producers, if you truly want your play to evoke a 16th century atmosphere, include stuff like candles, wooden props, sumptuous fabrics and beautiful music made by authentic Tudor instruments. Maybe include the occasional puff of smoke, too. Don't just rely on costumes and acting. WOLF HALL and BRING UP THE BODIES, I'm talking to you. I was able to feel fully absorbed in Shakespeare in Love in a large part because the set enabled me to believe that the action was taking place in Elizabethan London. The excellent seats in the stalls probably helped, too.

The music was great. Beautiful singing by a man with a very high voice accompanied by Tudor instruments.

My favourite characters were Christopher Marlowe (David Oakes, who was also in The White Queen. Say what you will about The White Queen but there were lots of very attractive people in it) and a youthful, bloodthirsty-minded John Webster (Colin Ryan). The portrayal of Christopher Marlowe was similar to my fond imaginings of him: attractive, well-educated, composed and slightly smug. Webster provided the most humorous moments of the play for me. Denied the part of Ethel in the play Shakespeare is writing, he hangs desultorily about the actors during all the rehearsals, silently gurning. 

I liked the idiosyncratic elements of Viola De Lesseps' (Lucy Briggs-Owen) character, but wasn't keen on some of her facial expressions as Thomas. Particularly during the scene where Alleyn (Doug Rao) and Shakespeare (Tom Bateman) are encouraging her to kiss 'Juliet' more ardently. I thought there she went from 'idiosyncratic' to 'idiotic'. Strange, vacant expressions.

One of my favourite scenes was the boat scene, where Viola travels home from a rehearsal as Thomas, and Shakespeare only realises that she is Viola right at the end, when the boatman reveals this fact. It was amusing and touching, and I enjoyed the bucket-sloshing sound effects. I liked the relationship between Shakespeare and Viola. In fact, I got so into it that I forgot that Shakespeare was married, so I was suitably shocked and appalled on Viola's behalf when she discovered this fact.

The play ended with an energetic jig, performed in character, which I appreciated, and a rendition of 'Vivat Regina' as Queen Elizabeth I took her curtain call. This was such an absorbing, entertaining, feel-good play that I was properly disappointed when it was over.

Historical quibble: Shakespeare actually wrote Twelfth Night seven years after writing Romeo and Juliet. However, we can pretend that he started writing it immediately afterwards but that it took him seven years to complete because it was so important to him. There.

Next: The Knight of the Burning Pestle

The Duchess of Malfi - Jacobean Theatre at the Globe

I can't bring myself to refer to the new theatre at the Globe as the 'Sam Wanamaker Playhouse' because (i) the Globe pays more than enough homage to Sam Wanamaker as it is, and (ii) this atmospheric, authentically Jacobean-style theatre deserves an atmospheric, authentically Jacobean-style name. So I will henceforth refer to it as Blackfriars.

Much as I was looking forward to visiting this new theatre, I was prepared for there to be obvious concessions to health and safety. Events I've attended before that have been advertised as 'candlelit' have often involved fake candles or a single candle or were candlelit for sixty seconds out of a possible hour. However, Blackfriars fulfilled my wildest expectations. There were five seven big candlelit chandeliers over the stage, which were lit/extinguished/moved up and down during the performance; a single candle attached to each of the wooden columns at the sides of the stage; and candlesticks carried on by members of the cast. There were no in-your-face exit signs. At the beginning of the play, electric lighting was still visible from outside the theatre, but about twenty minutes into the play the shutters were closed.

The ceiling was beautifully painted with clouds, cherubs, suns and a female figure. The back of the stage was similar to that of the Globe, with three entrance/exit points. The back panels were also well-decorated - I loved the dark brown and gold colour scheme. The theatre was considerably smaller than I'd expected, which meant that even from the upper gallery (and with contact lenses of an outdated prescription) one could easily see the actors' facial expressions. 

The widowed Duchess of Malfi (Gemma Arterton) was a really interesting character. She wasn't an idealised example of 17th century womanhood, but a determined, intelligent, witty person who just wanted to get on with her life, and wasn't prepared to allow her scheming, unscrupulous brothers to dictate to her. Her brothers try to prevent her from marrying, but she marries her steward, Antonio, in secret, after having wooed him. The first half was quite funny, but things rapidly took a turn for the seriously macabre and grotesque in the second half, which featured Ferdinand (one of  the brothers)'s use of mentally ill people to torment the Duchess, and multiple murders. The lighting was used to great effect during the night scenes, when the only light came from hand-held candles. One scene, featuring Ferdinand and the Duchess, took place entirely in the dark, with no candles, and ended very dramatically and horribly. James Garnon was excellent, as usual, as the calmly evil Cardinal.

The costumes were amazing - even better than the usual Globe costumes - they were probably made more intricately because they wouldn't be exposed to the weather. I loved the Duchess's sparkling bodice. The music was good but understated. Not as rollicking as Globe music often is. The jig was slow, intense and fitting to the mood of the production.

My only negative comment would be that I thought the hand-held candles were overused. Pretty much every other character came onto the stage holding a candlestick of some description. It was great for the scenes that were supposed to take place at night, but otherwise unnecessary. I understand that audience members want to see actors' faces, but it looked forced to have almost every actor holding a candle up to his or her face.

The intimate, dimly-lit nature of the theatre made it very easy to focus fully on the play, and absorb oneself  into it. The experience was a bit like having a very vivid dream. It really is a unique theatrical experience and I would strongly recommend it.