Labouring under the allusion…

Patrick O’Kane (Caravaggio) – photo by Ellie Kurttz © RSC

For too many of us it’s become safer to retreat into our own bubbles, whether in our neighborhoods or college campuses or places of worship or our social media feeds, surrounded by people who look like us and sh are the same political outlook and never challenge our assumptions.
     The rise of naked partisanship, increasing economic and regional stratification, the splintering of our media into a channel for every taste – all this makes this great sorting seem natural, even inevitable. And increasingly we become so secure in our bubbles that we accept only information, whether true or not, that fits our opinions, instead of basing our opinions on the evidence that’s out there.
– Barack Obama

I resigned from the Labour Party on Monday night – and then (convinced myself that I) comforted myself by cutting my membership card into itsy-bitsy pieces. Well, it was some form of catharsis, I suppose – if not any true kind of compensation. I had been a full member for many years; and a supporter and voter for even longer; had backed Jeremy Corbyn with joy in my heart… – but was finally floored by the following sentence in the Guardian –

Jeremy Corbyn will use his first speech of 2017 to claim that Britain can be better off outside the EU and insist that the Labour party has no principled objection to ending the free movement of European workers in the UK.

I wrote in response that “I cannot support a party that does not support the free movement of people.” To me, the words “no principled objection” just came across as “no principles”; and – as a result of what feels bitterly like betrayal – I now mourn the lack of a truly socialist party whose ethos meshes with my own; and who can represent me, as well, especially, as those many others desperately in need of compassion – those deprived of moral, political and social assistance and validation. (You may call me an idealist. But I’m not the only one. And – truthfully? – being disabled soon knocks pragmatism into you more efficiently than a beating in a back alley for wearing the ‘wrong’ school tie. Or, indeed, a Work Capability Assessment.)

The angels forget to pray for us…

It’s time that we began to laugh and cry
And cry and laugh about it all again
– Leonard Cohen: So Long, Marianne

A few days ago, I started drafting a review of what was then the current year: but didn’t really get very far (somewhere around the end of February…). And, now that my deadline has passed (because of a parallel lack of mental momentum and physical health), I was on the verge of conveying those few musty paragraphs to the overflowing dustbin that is my output’s virtual, but permanent, companion. Waking up to a dark, dank day – which quickly infused my weakened joints (and thus my resolve) – did not help. However, after too many semi-comatose, quilt-hidden, guilt-ridden hours, I awoke again to realize that this was just the sort of challenge I needed to face down if I were to survive the next twelve months: a period where tough personal decisions must be made; and where the consequences of last year’s tragic body-political ones would start to make themselves evident – neither of which I could ever justify shying away from: however painful the outcome.

I’m not just talking about books…

Before I say goodbye to – and (attempt to) let go of – the RSC’s sensational Making Mischief festival (all the photographs of which are by Richard Lakos), there are a few things I need to get off my chest. But first – and I should probably give them their own page: so that I can continually refine them, formalize them, and then link to them… rather than keep on reiterating them – a reminder of the Bardic Principles of Theatre and Art (for want of a better moniker):

I appreciate that many simply go to the theatre to be entertained…. I don’t.

     I go to be challenged. I go to have my mind opened; my heart broken; my soul riven. I go to be educated. I go to weep; to grow – emotionally and psychologically – to laugh; to discover my place in the world that is created in front of me, as well as its relevance to the troubling complexities that exist beyond its literal and figurative bounds. I go to be absorbed into that new interior world; to escape from the old exterior one. I go to be distracted from my constant pain with an injection of a different sort of masochistic agony. I go to retain my sanity. I go to witness and admire deities transform themselves beyond the ken of us mere mortals; to mark miracles. I go to be shocked; to have my opinions and beliefs confirmed, or challenged and transformed; to see and hear and feel things that I have never seen and heard and felt before. And may never see and hear and feel again. I go because it is incredible, unreal: but also because I know I will still believe. I go because I know that, each and every time, I will emerge transformed. In other words, I go to connect to everything I am not; to have my life enriched. I go because it is Art; because Art is humankind’s greatest invention; its saving grace; its redemption; and because it speaks to me so directly, as only Art can. I also go, because, to be blunt, it is so bloody awesome!

     And if I hadn’t gone, I wouldn’t have experienced some of the greatest plays ever written, performed by some of the greatest actors ever born…. And my life would be so much poorer for that lack; and I would not know that, in the blackest depths of my despair, there could be – there was – salvation. So I will – I must – continue to go: to discover yet more reasons for going. And – of course – to be entertained…!

I would like to supplement this with some words (“yet more reasons for going”) shared yesterday – before the final shows of Always Orange and Fall of the Kingdom, Rise of the Foot Soldier – by Laura Howard (who is (wonderful) in both plays):

When we create or appreciate art, we set free the spirit trapped within. That is why art arouses such joy. Art – whether skilfully executed or not – is the emotion, the pleasure of expressing life as it is. Those who see art are moved by its passion and strength, its intensity and beauty. That is why it is impossible to separate life from art. Political and economic developments may seem to dominate the new, but culture and education are the forces that actually shape an age, since they transform the human heart.

– Daisaku Ikeda: Wisdom for Modern Life (27 August 2016)

I may not agree with everything stated here: especially the words “joy”, “pleasure” and “beauty” (I think their antonyms are equally valid; and perhaps crucial…). And I do not, for one moment, expect everyone who sees art to be moved by it (see above). But I do concur with the general proposition.

When I wrote my original “principles” – almost a manifesto – I was discussing “theatre as therapy”: because of my current war with depression and PTSD (which I am beginning to win, one tailgating truce at a time…). And I felt ‘safe’ in doing so: because I am undergoing formal treatment. However, it occurred to me on Wednesday, at my second viewing of Always Orange, that the play itself contains several ‘trauma triggers’ – although I accept that these are so specific that there will be very few people watching that might be affected by them. This is not to say, though, that those, such as myself, who suffer from PTSD with other origins – but who aren’t being treated – won’t be similarly disturbed.

This is from my original review:

I described Always Orange as “devastating… important and necessary theatre”…. Having written twice, recently… about “theatre as therapy”, this was probably the toughest (but most rewarding) of the three plays to sit through, for me: its depiction of post‑traumatic memory searingly (and, in my case, tear-jerkingly, shoulder-shudderingly) accurate – and perfectly portrayed by the mesmerizing Ifan Meredith, as Joe (“a British man”).

Having seen audience members turn a funny colour when Gloucester’s eyes are gouged out; yet laugh at the decapitation of Cloten – an act that would seem horribly contemporary… – it is obviously impossible to predict how people will react. I myself tittered at the warning sign outside King Lear, at the Royal Theatre in Northampton – “During this performance there will be: Smoke, Gun Shots, Smoking, Flashing Lights, Strobes, Loud Bangs” – because of the absence of any mention of the frequent violence, and the resultant copious amounts of blood that are spilled. And yet, if there is one Shakespeare play that I would not venture near, it is Titus Andronicus…! (But I say this, of course, having been forewarned by both reading the text, and by others’ experiences.)

Before you have a go at me for being over-sensitive – although this is surely a state we all want to be in, if we’re going to be moved to the max…? – I’m not demanding EastEnders‑type “If you have been affected by issues…” paragraphs printed in red ink on the front covers of programmes; nor for leaflets for the Samaritans to be handed out at every show. (I do know that this would be impractical. Mebbe.)

What I am asking – as an extension of considering the physically disabled, when designing access policies – is that we consider how the power of theatre affects individuals – especially those with mental health problems – in different ways: hoping that, firstly (and accepting that there is a suspension of disbelief for many), well-directed and -produced drama will, in most cases, be beneficial in some way. Secondly, though – where theatre deliberately sets out to provoke: as the four plays that made up Making Mischief so successfully did… – we (both creators and consumers) need to be prepared for those provocations to not only upset (which, surely, is one of the many duties of art: “I go to be challenged…”); but, occasionally, cross some sort of personal boundary. And we need to be ready to make allowances; deal with the consequences; and accept responsibility (not that there are – or should be – easy answers…).

The crux of this issue is probably hidden somewhere in the mix of how we are affected (where those “personal boundaries” lie; what experiences we bring with us; and our general sensitivities); the motivation behind the challenge itself (is this a wake-up call; are our beliefs being teased or taunted; or are we deliberately being insulted and/or offended…?); and the context (which is why relaxed performances are such a wonderful thing…). It is therefore a tricky balance to achieve: especially if one wants to (as one should) instigate change (via drama) – and especially when so many people are resistant to it; and only see and hear what they want to.

To my way of thinking: even with such considerations, there are risks that are worth taking – otherwise theatre (as a subset of art) becomes diluted and ineffectual. I would rather be shaken to my core (physically, mentally, emotionally – even in my current, relatively-fragile state), than bored: “I appreciate that many simply go to the theatre to be entertained…. I don’t.” And, yes, this can be achieved with texts that are centuries old: whether reinterpreted through the eyes of a contemporary director; or revised by the pen of a modern playwright. Otherwise, the works of Shakespeare, Marlowe and Jonson; Aeschylus, Sophocles and Aristophanes – although simply reading their words can be transformative – would have been tossed in the bin years ago.

Thanks to the wonderful access policies of the RSC (especially the saintly Jim Morris), I had a reserved seat front and centre for the last performance of Always Orange. I could blame it on the captions at the first viewing; or trying to see through tears at the second; but, this time, everything clicked: as if some sort of automated “aleatoric” jigsaw had finally completed itself in my head with a resounding – yet whispered – “Bang”. (Knowing I would not see it again, perhaps, additionally, my concentration was dialled up even further than normal?)

This is, I think, a ‘writerly’ play – Fraser Grace’s words are “of the highest quality and laser-guided precision (the prologue reads as poetry; yet the craft is invisible)” – almost certainly, if I had the talent, the kind I would like to author. But I wonder if this ‘precision writing’ is at the root of some people’s emotional disconnection with it…? (Ignoring the cardboard boxes – perhaps – and any other ‘Faustian’ parallels – there is a quality to the text that, for me, recalls Marlowe: especially the rapid “tragicomic” contrasts of tongue-in-cheek and transcendent; as well as the intrinsic lyricism and power.)

I admit that (as detailed above), Joe’s scrambled memory and resultant actions speak to, connect with, me with heart-piercing accuracy. I am Joe. The flying metal that shredded my mind (“I’m a mist now”); the paper cuts that flailed my skin; the thunderous collision of books and stage… all too close for comfort. But, if I am the only person (which I don’t for one moment believe…) that sees through and past the wordplay, the surface jokes, the thudding visual metaphors; who is then ‘spoken to’ loudly and clearly… – a bloody immersion in belief; rather than a dismissal of doubt – well, is that how you measure a play’s success (at least on the individual, micro level…)? Or maybe it is just one of those dramas – like Cymbeline, “actually a damnably good read” – that just works better on the page?

Just not for me. This was truth writ in blazing, large capital letters. It hurt like hell – especially when Joe bellowed “I don’t remember anything.” But there is always comfort in understanding: whether it is your own; or someone-else’s shared vantage point and sympathy.

There is a risk, of course, that, in also weeping all the way through Fall of the Kingdom, Rise of the Foot Soldier (and for the fourth time), I was only following the same well-trodden path of “middle-class tolerance” as represented by “good person” Hawkins. And yet my belief (my personal reading; taking all the above into account) is that everyone’s perspective (moulded by nature and nurture) carries some form of validity – even if we violently disagree with it. The problem lies in actually establishing equality… – of perspective; of achievement; of entitlement; of opportunity… – although my emphasis here (from the viewpoint of a middle-aged, working-class, well-educated deaf and disabled man, with ethnicity running through his extended family like a rich vein of gold) may be different from yours. “This is our England.” YMMV, as they say.

But that is where the potency of this play – as it is performed here – lies. The actors in the principal roles (apart from Ifan Meredith as Archie, I would guess) could all be seen to have sympathy (if not empathy) with those they represent. The actors playing the Chorus, definitely not. This dichotomy – “the deep wound of cultural tension cutting through modern England” – for me (“from the viewpoint”, etc.) fuels its impact: propelling the already powerful script – again laced with poetry – into the political stratosphere. However, for others watching, I can accept that they may only see their personal prejudices – whether similar or different to mine – reinforced.

In a nutshell… this is why we need art that forces us to question ourselves. (That’s why “I was glad, though, that I saw [Revolt. She Said. Revolt Again.] twice on the same day”.) If you’re not willing to face those inner demons (not necessarily face them down…), then just go and be “entertained”. That’s fine. But I worry that you’re missing something, missing out on something, in doing so….

Postscript…

I found a shred of paper – a shard from “the sea of glass” – trapped in my copy of the text of Always Orange. “I’m very collected. Thankyou.” But I wasn’t… – not for some time. “I remembered something, from before.”

But be prepared to bleed…

Design by RSC Visual Communications

Saturday was the first official captioned day at (the new) The Other Place (TOP) – thank you, Stefanie Bell…! – although I appeared to be the only one sitting in the specially-reserved seats at the back of The Studio Theatre… – and, with Early‑Bard (sorry) tickets going for a mere 70p a pop (the price they were when Buzz Goodbody’s magical Tin Hut originally opened for business in 1974), I decided to see all of the Making Mischief festival’s four performances: Revolt. She Said. Revolt Again. – then, after the shortest of breaks, Always Orange – and, in the evening, Fall of the Kingdom, Rise of the Foot Soldier, followed, finally, by Revolt…. Again. (Ahem.)

I may be wrong, but I believe that most visitors to Stratford-upon-Avon – and then the RSC – come expecting non-stop Shakespeare; or maybe – if the RST is sold out – (will settle for) one of his less-famous contemporaries at the other, older (more interesting) end of the building. (After all, this is the universal, gravitational centre of Bardolatry.) And yet some of the most memorable productions I have seen here recently have stemmed from the pens of living writers – off the top of my head: Hecuba, Oppenheimer, and Mark Ravenhill’s imaginative reworking of Brecht’s A Life of Galileo.

This is not to say those “visitors” are in any way wrong; nor that the RSC isn’t a great (maybe the best) purveyor of English Renaissance theatre. Just that the place (and the organization) has a depth and breadth to its skills and repertoire that I think would surprise quite a few: were they to pay attention, for a while, to the many talents both before and behind the curtain. And with Erica Whyman as Deputy Artistic Director – “taking a particular lead on the development of new work [and] on extending equality and diversity across all RSC activities” – even I am beginning to expect the unexpected. As I often say: this is A Good Thing!

This is not well, my lord, this is not well.

What say you to it? Will you again unknit

This churlish knot of all-abhorred war?

And move in that obedient orb again

Where you did give a fair and natural light,

And be no more an exhal’d meteor,

A prodigy of fear, and a portent

Of broached mischief to the unborn times?

– Shakespeare: Henry IV, part I (V.i.14-21)

This too-short Making Mischief festival – building on the success of 2014’s Midsummer Mischief – is just one example of such a positive (hydra-headed – and yet somehow utterly cohesive: thematically, if not quite qualitatively) creature. Although, as you should expect, this is “mischief” of a dark, Puckish kind – full of calamities, catastrophes; wicked actions, evil deeds, harmful schemes… – rather than of japery and jollity. And these first three plays – Joanne, the fourth and final, only runs for three performances, sadly, later this week… – left me and my mind so instantly boggled (and in so many ways) that I struggled to put together anything coherent immediately afterwards (as is my wont). Hence the uncharacteristically late (meaning tardy, rather than my usual insomnia-generated) appearance of this review. Some of you may also notice that, the greater the production, the fewer words I manage to string together….

I had entered TOP as it opened, at 10:00 – expecting a queue for those bargain tickets (£2.80 for a whole day of challenging theatre: wow!) – but I needn’t have worried. I was second in line (and managed to grab copies of the play texts – which cost just a tad more! – at the same time). And then I basically set up camp there, for the day: leaving – with a few (loo) breaks; a smattering of really interesting conversations; several coffees; an excellent chickpea wrap; and a smidgen of cake: all for good behaviour… – over twelve hours later! [After a 97‑hour migraine, I needed urgently to make friends with my iPad again; and at least pretend to look busy: trying to catch up with my ever-spiralling to-do list – despite a need, in reality, to take things physically easy.] I had also entered wearing my why, this is hell, nor am I out of it. T-shirt: which, as the day flowed by me, seemed increasingly apposite.

Review. He wrote. Review again.

Revolt – The company – photo by Richard Lakos/RSC

This review is not well behaved.

The Bard of Tysoe examines the irony, cunning linguistic stunts, and increasing lack of connection and conviction, which disturbed him (but not as expected) for an hour, twice, on the sixth of August; and asks what’s stopping him from having a ball (or two).

I really, really wanted to fall for Revolt. She Said. Revolt Again. by Alice Birch (and not just to get another rubber stamp on my Feminism loyalty card). It seemed a rather palpable hit, the first time around. And I rather enjoy messing, er, around with language (good, bad, or anywhere in between – however you wish, personally, to define those adjectives); as well as truly loving what Erica Whyman – who directs this – has brought to the RSC: with her programming, her insight, inclusivity, and the obvious change of culture.

However, from the perspective of someone who writes (but only to keep himself living – not for one), I found the manipulation of language, here, just too clever for its own good. [I was tempted to write that Birch uses a sledgehammer – actually a fire-axe… – to try and crack nuts: but it came out all wrong.] And yet, whole sections of the text were – surprisingly (not for me, as reviewer; but for you, dear reader) – truly brilliant.

Revolt – Emmanuella Cole; Emma Fielding – photo by Richard Lakos/RSC

Just before I went in, I had written in an email – on a slightly different subject – that “What it all boils down to is the ‘communication’… the connection… – but that communication/connection must be a two-way process: the [viewer] has to comprehend what the performer is telling them”. And this play demonstrates such a need in many, many ways – without providing any answers: either internally- or externally-evoked. [Please note: I am not saying that is A Bad Thing.] It also – for a male viewer (despite my self-awarded feminist credentials) – is just a little (but only, disappointingly, a little) discomfiting. As the short programme states:

This play is not well behaved.

Alice Birch examines the language, behaviour and forces that shape women in the 21st century and asks what’s stopping us from doing something truly radical to change them.

However, that signposted bad behaviour – maybe I just am a typical, old-fashioned bloke, after all: who just thinks he ‘gets’ equality because of his overlapping membership of several minorities…?! (see Fall of the Kingdom – where it may all get sort of ‘meta’…) – feels like an excuse (almost – and I’m sorry (really?) to use such the C‑bomb, here… – a c‑c‑c‑c‑contrivance). It may have been “discomfiting” – and, in my ever-so-’umble opinion (whatever that’s worth), rightly so – but it never felt genuinely shocking (a state which it seemed ravenously to aspire to); nor that radical (ditto). Its overall impact, therefore, for me, was actually quite weak. [As Miles Davis once posited quite brilliantly: So What.]

Yes, there were those individual scenes of excellence, and fleeting moments of engaging emotion and real humour: which, of course, I did connect with. However, I felt the play’s use of – although it felt like its descent into… – what I can only describe as Beckettian literary impressionism (aren’t I a clever boy?) was something of an overwrought and target-missing soggy something-or-other. (Must try softer.)

Revolt – Beth Park – photo by Richard Lakos/RSC

In other words, this was a drama that I felt stumbled too many times, before eventually pratfalling waaaaay short of its potential. It didn’t help that all its working-outs were all-too-visible. For instance, its non-too-subtle overuse of repeated motifs (bluebells, potatoes, watermelons – basically, my usual weekend Waitrose shopping list…) is all too self-knowing and obvious. And, to be really blunt, I felt I was being manipulated – which is, in the end (ba‑dum tish), why I wasn’t moved. [I really do like to think for myself, y’know – despite what may appear as a consistent lack of evidence of such activity on these pages.] And the blurry projected text – instructions…? (but for whom…?) – just felt downright patronizing. (Maybe it’s Cymbeline…?)

Perhaps this – after all is said, done; kicked the (red) bucket, etc. – is the point? As a man (cough), perhaps I’m supposed to feel like this? But I didn’t need to engage my mind or my heart that much; and when I did, it wasn’t with any consistency. This, I’m afraid, therefore did not fulfil enough of the Bardic dramatic requisites to win me over. [Shocking, eh? (Or not.)]

Revolt – Emmanuella Cole; Emma Fielding – photo by Richard Lakos/RSC

Strangely, I was glad, though, that I saw it twice on the same day. To be honest (and serious), I think it crucial that works like this exist to remind us that our society has not moved on much (unlike moi) from its patriarchal, paternalistic roots. I just don’t think this is the mechanism by/through which converts will be won. However, it did – or appears to have, in my tiny, er, mind – inspire the other two dramas it bookended (expect raves galore, instead of barely-concealed sardonicism); as well as some truly magnificent, brave and breathtaking performances from Beth Park, Emma Fielding, Emmanuella Cole, and odd-person-out – “And we’ll eradicate all men…” – Robert Boulter. [Normal service will be resumed after the break.]

Revolt – Robert Boulter – photo by Richard Lakos/RSC

The future’s bleak…

Sweet flowering peace, the root of happy life,

Is quite abandoned and expulst the land;

Instead of whom ransacked constraining war

Sits like to ravens upon your houses’ tops;

Slaughter and mischief walk within your streets,

And, unrestrained, make havoc as they pass;

The form whereof even now myself beheld

Upon this fair mountain whence I came.

For so far of as I directed mine eyes,

I might perceive five cities all on fire,

Corn fields and vineyards, burning like an oven;

And, as the reaking vapour in the wind

Turned but aside, I like wise might discern

The poor inhabitants, escaped the flame,

Fall numberless upon the soldiers’ pikes.

– Shakespeare: Edward III (III.ii.47-61)

Orange – Donna Banya (Amna) – photo by Richard Lakos/RSC

I described Always Orange as “devastating… important and necessary theatre” as I sat down in Susie’s Cafe Bar to recover (not that I think I will, could, or want to…). Having written twice, recently – Doctor Faustus, of course; and then Mrs Shakespeare – about “theatre as therapy”, this was probably the toughest (but most rewarding) of the three plays to sit through, for me: its depiction of post-traumatic memory searingly (and, in my case, tear-jerkingly, shoulder-shudderingly) accurate – and perfectly portrayed by the mesmerizing Ifan Meredith, as Joe (“a British man”).

Orange – Ifan Meredith (Joe) – photo by Richard Lakos/RSC

Fraser Grace’s writing is of the highest quality and laser-guided precision (the prologue reads as poetry; yet the craft is invisible). And, although he describes, in the (post)script, the perils of being ‘open’ – apart from the first and last, “the scenes… can be presented in any order” – I would really like to see the drama again (and again) with some of that chance shuffling (what I think of as ‘aleatoric’ art). This, perhaps, would emphasize “Joe’s confusion as a trick of memory – a product purely of his psychological state” more – something that is apparent, but not quite pivotal (from my extremely subjective perspective), in the ‘fixed’ version presented here.

Orange – Bally Gill (No Name) – photo by Richard Lakos/RSC

At the risk of imposing my own (so proximate that my face is identifiable from the marks left behind on the “so much glass in this place”) interpretation (or even will) on the play: with Joe so obviously the central character, I believe such variability would go some way to reflecting and stressing (if not actually explaining) that his “head and confidence is scrambled not because he is by nature a confused person, but because of an immensely traumatic event that happens in the physical world.” [And yes – as the founding member of Marloweholics Anonymous – I would be prepared to watch lots of these different iterations one after another.]

Orange – Bally Gill (Parvendra); Sam Cole (Niall); Bianca Stephens (Lorna) – photo by Richard Lakos/RSC

The company, here, is uniformly stunning – a perfect match for those perfect, powerful words. Not just the actors; but the creative team, too. There are some magical, abrupt, shocking – truly shocking – silences. Everything – whatever sense it affects – is there for a reason. This is so real. It is “how we live now” – but feels like it was written tomorrow. The unexpected connections the play makes are so utterly, chillingly plausible. Its switches of perspective non-judgmental and almost empathic.

Orange – Tyrone Huggins (Farouk) – photo by Richard Lakos/RSC

I don’t want to go into too much detail, for fear of revealing too much. All I would say is that this – by the slimmest of margins (see below) – is the one festival play I need to (and will) see again. (I would also suggest that you need to, as well.) This salient production defines why theatre is so crucial. It is also the RSC at the very top of its (perhaps unexpected) game.

Orange – Syreeta Kumar (Rusha) – photo by Richard Lakos/RSC

By the way: playing Joni Mitchell’s exquisite A Case of You as we left the theatre was a tiny act of apposite genius… – albeit one amongst so many.

Please don’t let this be my England…

Kingdom – Donna Banya (Aisha) – photo by Richard Lakos/RSC

The journey to write this play has been one of mixed emotions.

I don’t have all the answers.

What I do know is this;

We must get angry. We must stay angry. We must get organised.

Anger without strategy is futile.

Above all else we must connect, hear and protect each other.

Silence is not an option. It is in fact complicitness.

We are more powerful than we know.

Collectively.

– Somalia Seaton: Fall of the Kingdom, Rise of the Foot Soldier (Foreword)

Kingdom – Syreeta Kumar (Shabz); Laura Howard (Hawkins); Ifan Meredith (Archie) – photo by Richard Lakos/RSC

Utilizing most of the same brilliant cast of Always Orange, this similarly whacked me in the chest and head with vicious aptness. Not for personal reasons, this time; but topical ones. Donna Banya as Aisha was particularly persuasive – shattering, even. And yet it was Syreeta Kumar, as Shabz, who usurped my soul – just ahead of Laura Howard as Hawkins: whose disintegration, in parallel with devastating events, crumpled with transparent truth. Again, though, it is the cumulative forcefulness of the whole company – beginning, of course, with the playwright’s deep incisions into contemporary urban society (“Set in London. The belly of our beast. Heightened and dangerous.”) – which makes this so convincingly potent.

Kingdom – The company – photo by Richard Lakos/RSC

The repeated use of cubes – of various shapes, sizes, materials, contents – was a disquieting leitmotiv: but one, I think, which communicates in many ways. Not only is this a world of rigidly-compartmentalized thoughts; finite resources; fractured factions; of high-rise, faceless, empty blocks; it is one of fortification and hard edges (linking directly back to Revolt…) – and one where such established (establishment?) solidity needs to be continually softened, interrogated, challenged, disrupted; where boxes, containers (of any kind), need emptying, their contents modified or replaced; where, instead of being scattered, organization and cohesion could render them a concrete force for change. Thus, the masked Chorus was devastating in its tripartite, opaque, shape-shifting anonymity – especially contrasted with the clarity of the intensely personal portraits at the drama’s heart….

Kingdom – Laura Howard (Hawkins); Tyrone Huggins/Ifan Meredith/Bally Gill (Chorus) – photo by Richard Lakos/RSC

Go. Just go. Okay? And then get angry. Then organized. Really angry. And really, really organized.

Anger is to make you effective. That’s its survival function. That’s why it’s given to you. If it makes you ineffective, drop it like a hot potato.

– Philip Roth

Kingdom – Laura Howard (Hawkins); Ifan Meredith (Archie) – photo by Richard Lakos/RSC

Erica Whyman writes in the introduction to the scripts of Orange and Kingdom that they were “commissioned… in response to the provocation ‘What is unsayable in the 21st Century?’”. The answer – as I think it should be – is absolutely nothin’. And both these telling dramas demonstrate this rejoinder not just meaningfully and successfully; but, as Whyman says, “with exhilarating honesty [and] elegant and determined theatricality.” Buzz, I am sure, would be proud. Me? I’m still quite thrillingly boggled.

It is perhaps the artist’s most urgent responsibility – to disrupt, to perturb, to disconcert in order to reveal new ways of imagining the world – to make serious mischief. I hope these plays encourage us all to see a little differently.

– Erica Whyman, Deputy Artistic Director, July 2016

If you go down to the woods today…

Peter Cockerill (Bottom) – photo by Topher McGrillis/RSC

Swift as a shadow, short as any dream,

Brief as the lightning in the collied night,

That, in a spleen, unfolds both heaven and earth;

And ere a man hath power to say “Behold!”

The jaws of darkness do devour it up:

So quick bright things come to confusion.

Perhaps it was a conjunction of sorts – Tim Peake, like a celestial spirit, descending to Earth; just as the ‘strawberry moon’ (longingly hunted for by Puck – the enchanting Lucy Ellinson – in pyjamas) heralded the summer solstice; and the opening (as Erica Whyman reminded us) of a portal (real or mythical) between the fairy kingdom and the land where us gentle mortals dwell… – or perhaps it was simply meeting Mephistophilis himself (the impish Oliver Ryan), and being granted several wishes all at once… – but, whatever it was, yesterday, for me, was an intensely magical day. And in so many intensely magical ways! And all thanks to the RSC….

¶

It signs well, does it not?

– Shakespeare: Antony and Cleopatra (IV.iii.14)

Last night’s performance of A Midsummer Night’s Dream was a British Sign Language (BSL) interpreted one – although “interpreted” seems far too weak a word for the way the warm, winning, wonderful Caroline Ryan gathered us up in her eloquent arms and carried us through the evening. [If you want to see some of this wonderment in action, then I suggest you watch her fantastic signed introduction to the play and its characters.]

Initially aloof from the mortals, onstage, it soon became apparent – her coloured Puck-like quiff and red stockings were hints; but Chu Omambala’s generous embracing of her as part of his (Oberon’s) entourage was the giveaway (later, at the post-show Q&A, confirmed by Whyman) – that here was another cheeky, otherworldly sprite – Robin Goodfellow’s shadow; or perhaps antithesis – commenting on, and laughing at – with wonderful expressiveness – the foibles of those silly humans; and yet fully engaged with, and involved in, the fairies’ songs, dances and tricks! You didn’t have to understand BSL (as I don’t – yet…) – although many of her descriptive gestures so clearly enriched the action for everyone… – to be immediately enraptured by her skill, and her (and the language’s) inherent ingenuity and power. Each character was somehow rendered differently, individually; and she moved around the stage not as an adjunct to the action, but as a completely integrated and important part of it: creating a rich, interwoven layer of insight and enjoyment.

¶

Even though I don’t currently use BSL, there are two main reasons why I am so interested in such presentations: firstly, of course, because of my own hearing loss; but, secondly, that I find – as with the earlier “interpreted” The Jew of Malta – them to be immensely, amazingly moving (as I know did Jasper Britton, who played the eponymous Barabas). They are such wonderful, inclusive undertakings (especially when, organizationally, they add another layer of complexity to already convoluted proceedings) – not only because they expand the magnificent, immersive experience that is theatre to those who may otherwise not be able to partake; but also (a little selfishly, perhaps) because – although I need to substantially increase my lip- and caption-reading abilities first… – as my deafness continues to grow, I may, some day – to put it crudely and simplistically – have to (enthusiastically) rely on them.

Having said that, though, BSL is no simple replacement for the spoken word. As you may have gathered from my description of Caroline’s performance, above, it is so multidimensional a language that I can see how it deeply enriches its users’ lives – as well as empowering them (never mind giving them the ability to talk in busy, cacophonous environments – something I struggle with intensely, at the moment: and therefore envy massively…).

Such qualities readily became apparent during the afternoon’s BSL-interpreted pre-show theatre tour that I was invited on by the RSC. Fortunately – for me – I was the only attendee; although I initially felt a bit of an impostor, not actually using BSL. Yet Clare Edwards, the extremely patient and thoughtful BSL guide, and Lesley Frampton, the extremely knowledgeable and accommodating RSC guide, took this in their stride, and made me feel extremely welcome.

Because I already knew some of the theatre’s history and workings – although Lesley was mesmerizing in her ability to continually deliver fresh gems of information and detail, and make me feel truly involved – a small part of the hour was spent investigating the mechanics (if that’s the right word) of a signed tour; and from all our perspectives. This was fascinating in itself; but, again, watching Clare in action was truly engrossing; and, whilst in the quieter parts of the theatre – where I no longer needed to concentrate on reading Lesley’s lips – I began, I believe, to truly get a taste of just how powerful BSL is. (Clare’s expertise and generosity certainly gave me incentive to explore the process of learning it myself… – despite being conscious of the fact that it is no easy achievement being as beautifully fluent and absorbing as both her and Caroline.)

Although, in so many ways, it was great to have such a ‘private’ tour, I really would encourage anyone who wants to go to the theatre, but worries about accessibility in any form, to take advantage of the RSC’s welcoming, intelligent, responsive and courteous (and, in my experience, somewhat unusual) approach. As someone who struggles with mobility, as well as hearing, I find them incredibly keen to ensure that the whole experience of visiting them – whether for a drink, a meal, an exhibition, a theatre tour, or fully engaging with their riveting productions – is made as easy and friendly as possible for everyone. They also appear happy to adapt to, and accommodate, each person’s needs – stating on their Access webpage that…

We want to make everything we do accessible to all our audiences, and are constantly seeking to find new and effective ways of breaking down barriers to enable attendance by the widest range of people.

By the way – if you want yet more proof of this policy – Clare also keenly (and seemingly inexhaustibly) signed the post-show talk: again meaning that none of the audience were excluded. [A brief note of thanks to the RSC’s sound technicians, here. Although I simply turned up my hearing aids a notch for the play itself – I know it pretty well, and was sat centrally, very near the front… – I connected to the theatre’s super-duper induction loop for the Q&A: and every word from those onstage was crystal clear. Wonderful!]

¶

Yet more of the day’s sparkling magic emanated from – for me – a new set of Mechanicals. Based in Barnard Castle, County Durham, The Castle Players have been “delighting audiences since 1989”; and, in the programme, they tellingly state that Shakespeare “just ‘gets’ the stuff that makes us human”. Doesn’t he just!

Ayesha Dharker (Titania); Peter Cockerill (Bottom) – photo by Topher McGrillis/RSC

Having – as with all the non-professional groups – been given licence to thrill us in their own way: i.e. to develop their own interpretation of their company’s rôle in the play, it was quite astonishing to see how distinctive the end result was (and it so warmed the cockles of my heart to hear their warm Northumbrian inflections…)! Peter Cockerill was a Bottom with a knowing smile and a great big heart – and definitely an ego to match… – wonderfully growing further in confidence as the comedy grew in rudeness! His temporary love affair with Ayesha Dharker’s tender Titania (Sarah Fells, in rehearsal), though, was both moving and joyful (despite, or maybe because of, his stupendous Elvis routine…) – and I actually blubbered a little when the fairies introduced themselves to him in BSL (a beautiful touch – as was getting the craftsmen, later, to do the same for us…). However, Pyramus’ death scene was utterly impeccable in its hamminess; and therefore brought the house down… – twice!

Andrew Stainthorpe (Flute) – photo by Topher McGrillis/RSC

Andrew Stainthorpe, as an initially timorous Flute, was his match, though. Light on his feet – and heavy on the innuendo – his totally inappropriate casting as a fantastically flirtatious Thisbe just kept piling on the laughs. Never have I seen embarrassment so superbly portrayed… – well, apart from Ben Pearson’s tinkering Snout: whose self-conscious, confused Wall was not only tickled by his, er, brush with Pyramus, but was incredibly rib-tickling in itself!

Ben Pearson (Snout) – photo by Topher McGrillis/RSC

Graham Fewell’s reticent Snug was a wonderfully pathetic, almost cowardly, lion: his hangdog expression producing as much sympathy as it did jollity! Likewise, with Ian Kirkbride’s Starveling, and his disobedient dog (he’d do well in The Two Gentlemen of Verona…) – although there was a canny undercurrent of stern belligerence in his portrayal of Moonshine that gave the part real import.

Ian Kirkbride (Starveling) – photo by Topher McGrillis/RSC

With all that lot strutting their stuff, it’s no wonder cat-herder Quince – a companionable Harry French – always looked on the verge of a meltdown; and yet, somehow, managed to keep (some form of loose) control. That his beaming smile shone as brightly as Starveling’s lantern when things all came together demonstrated just how rewarding the boss’ job can be! I only hope Jill Cole – The Castle Players’ genial director – had as much fun! (I’m sure she did!)

Ben Goffe (Mustardseed); Harry French (Quince) – photo by Topher McGrillis/RSC

This was another extraordinary group of players: happy in their own skins; and comfortable and confident in each other’s mind-boggling abilities. That they so obviously meshed with the professional actors – with monumental mutual (and well-earned) admiration all-round – says a great deal about every single one of them; and I fear my words cannot give such a joint enterprise the praise it truly deserves….

¶

Talking of which, in her original programme note – before the production went on tour – über-director Whyman wrote that…

This Dream has been built on long-standing partnerships nurtured by the RSC for many years, and we will continue to work with those partners long after it has ended. It is a project on an almost unimaginable scale, but it is also a very simple idea: to make a new production of a great play hand-in-hand with good colleagues. If it works, it will make visible a truly national passion for theatre.

…and I noticed, yesterday, that, in the revised version (produced for the return to the RST), this last sentence has been replaced:

It has been a privilege to watch the play reveal itself on so many stages and a great honour to bring it back to Stratford, to celebrate a truly national passion for theatre with all of you. I hope you enjoy it.

Of course it worked! And of course everyone enjoyed it! In fact, I don’t remember – apart from say Wendy & Peter Pan – seeing so many of the audience, especially in the galleries, leaning in quite so hard, as if to get even closer to the action: wanting to be even more wrapped up in this thrilling, mesmerizing triumph!

¶

Man is but an ass, if he go about t’ expound this dream. Methought I was – there is no man can tell what. Methought I was, and methought I had – but man is but a patch’d fool, if he will offer to say what methought I had. The eye of man hath not heard, the ear of man hath not seen, man’s hand is not able to taste, his tongue to conceive, nor his heart to report, what my dream was.

Before I finally shut up… it occurred to me – reflecting on my original review – that I had omitted one fundamental component of this ingenious production: an unbroken, braided strand of feminism. Not promoted in an over-the-top, shove-it-in-your-face sort of way (that is, one that can be self-defeating); but interwoven by skilful and subtle – therefore equally powerful, yet more arresting and enduring – means: successfully engendering (sorry) equality; and brought into play (ahem) in what I can only define as a very Whymanesque manner (consistent, for example, with the parity of professional and non-professional players; and the now-RSC-typical colour- and gender-blind casting…).

So doth the woodbine the sweet honeysuckle

Gently entwist; the female ivy so

Enrings the barky fingers of the elm.

Take Hippolyta’s evident, developing (initially cynical) love – on her own terms – for Theseus; and her prominent disproving glare (one of a series) when Egeus proclaims that his daughter must yield “either to this gentleman, Or to her death”. This queen looks and acts anything but defeated; and is no passive captive, but the king’s forthright counterpart. Her firmer belief in the lovers’ adventures, and her sympathy for, and (intermittent) defence of, the Mechanicals – Well shone, Moon. Truly, the moon shines with a good grace – are, as a result, cogently rendered. Additionally, Hermia – though she be but little, she is fierce – and Helena are more than a match for (nitwits) Lysander and Demetrius. However, I still find it disconcerting that, in the text – as Peter Holland writes in the programme – “so talkative through much of the play, [they] speak not a single word after their weddings” (although the girls, in total, do get around a hundred more lines than the boys – By all the vows that ever men have broke (In number more than ever women spoke) – so there…). In this production, however – and yet another sign of that praiseworthy equality – quite a few lines are transferred to them in Act V; and they are therefore as important a part of the commentary on the play-within-a-play as their spanking-new husbands.

You could say – and I wouldn’t disagree (apart from that last scene, maybe…!) – that Will himself is partly responsible for this balance: despite the male characters – especially Egeus – As she is mine, I may dispose of her – starting out with atrociously antediluvian patriarchal and chauvinistic attitides. No single part (somewhat unusually) is given a disproportionately large number of lines to deliver; and the Bard’s perceptive portrayal of the female characters – I know not by what power I am made bold – I believe, provides a forceful foundation of equal opportunity on which to build such emancipation.

¶

By the way, having re-read the play, a couple of days ago, I suddenly grokked Tom Piper’s – cunning devil that he is…! – use of those two ‘revolving’ doors. I’ll therefore leave you with a couple of Will’s stage directions from Act II…

Enter a Fairy at one door and Robin Goodfellow (Puck) at another.

Enter the King of Fairies Oberon at one door with his Train, and the Queen Titania at another with hers.

…before tripping away.

…and I do not doubt but to hear them say, it is a sweet comedy. No more words. Away, go, away!

Gentles, perchance you wonder at this show…

Chu Omambala (Oberon); Ben Goffe (Mustardseed); Ayesha Dharker (Titania) – photo by Topher McGrillis/RSC

I have had a dream, past the wit of man to say what dream it was.

I am feeling truly, gratefully blessed. First, the greatest, most profound King Lear. Then a matchless, audacious Hamlet. And now – last night – the most perfect, diaphanous, striking A Midsummer Night’s Dream. Seriously, Shakespeare does not, can not, will not… ever get any better than this.

What is even more astounding is that just this one remarkable man wrote these three remarkable, contrasting, peerless dramas. That I have been fortunate to see the most marvellous companies (including the creatives, of course) in the most marvellous productions, fills me with the most marvellous, joyous, almost-disbelief. How could I be so very fortunate? (And all this, of course, is just – just…?! – the sumptuous cake beneath the heart-rending, blood-red cherry that is the most gripping theatre I have ever seen: Doctor Faustus.)

And by the way let’s recount our dreams.

I remember my first A Midsummer Night’s Dream vividly (in effect, rather than detail) – as I will undoubtedly forever remember this one… – although, as one of Will’s most popular, accessible and most theatrical plays, I suppose I came to it quite late. It was at the Royal Exchange Theatre in Manchester; and I am pretty sure it was the first time I had experienced theatre-in-the-round (as well as such mind-boggling, awe-inspiring, dramatic engineering and architecture). The production was directed by Greg Hersov, and starred the magnificent Kenneth Cranham as Oberon. It was “Modern dress, with the fairies in particularly fantastic costumes of fur and feathers. The wood scenes were set around an abandoned bedstead.” What I remember most, though, is Peter Lindford’s almost hyperactive portrayal of Puck: acrobatically making the most of the Exchange’s spaceship-like structure.

In some ways – as with The Tempest – it can be quite onerous attempting to keep the play ‘magical’ without resorting to gadgetry and gimmickry: but I remember that production having a very humane feel (those at craft were as valid, as eminent, as those at court); as well as striking the right balance between dark and light, reality and fantasy – reconciling the play’s innate paradoxes – which is probably why it has stuck with me for so long.

Jack Holden (Lysander); Chris Nayak (Demetrius); Sam Redford (Theseus) – photo by Topher McGrillis/RSC

Following darkness like a dream…

And so it is now with director Erica Whyman (who I must, I think, henceforth have to refer to – and worship – simply as Minerva: “goddess of wisdom and sponsor of arts, trade, and strategy”), and her startling, invisibly-engineered (but exceeding complex) engrossing, phantasmagorical new production of (to give it its full title) A Midsummer Night’s Dream: A Play for the Nation for the RSC. Having been on tour all over “This precious stone set in the silver sea” – utilizing mega-talented regional amateur companies for the Mechanicals, and skilful local schoolchildren for the Fairy Train – its return run in Stratford-upon-Avon (reuniting, in turn, with each of those non-professional groups) finishes on 16 July 2016. So, if there are actually any left, grab a ticket while you can! Honestly – and I, as is my wont, have two more viewings (which will definitely not be enough…) – I have never been so thoroughly entertained in my whole life! This is not to be missed!

Such a command – and my description of it as “most perfect” – are no mere conceits. Every single member of the cast, creatives (especially Tom Piper: for yet another cunning, and utterly beautiful, period setting; perfectly lit by Charles Balfour), musicians, fairies – even the caterers, cleaners, ushers and programme-sellers, for goodness’ sake… – should be immensely proud of what they have achieved. Ignoring the Sisyphean logistics; the nightmare of managing an ever-changing cast of hundreds; this is a dream of a Dream – which, as with that earlier version, straddles the peak of perfection gleefully – yet never veers far from “The jaws of darkness” – by concentrating on the humanity and humaneness of everyone involved: whether these emerge through gifts of empathy, compassion, vulnerability; or flaws of pride, vanity, jealousy. Yes, it is amazingly, unbelievably uproarious: but the humour rises from a solid foundation of great emotion and intelligence – all those passions and sensations; all that ardour, all that vehemence, excitement, despair, ecstasy; all that warmth and animosity; all those sensibilities that make us who and what we are.

David Mears (Bottom) – photo by Topher McGrillis/RSC

What a dream was here!

As I have recently discovered, the only way to review such impeccability is to list every single contributor; and try to summon each individual’s unique contribution – relying solely on the “remembrance of [this] idle gaud”! So let’s start with those incredible, incredibly rude, Mechanicals.

Shirley Allwork (Starveling); Dominic Skinner (Flute); Charlotte Froud (Snug); David Southeard (Snout); Roger Ganner (Quince) – photo by Topher McGrillis/RSC

That we have such amazing talent residing in another theatre in our home town is nothing short of miraculous. Moving from The Bear Pit Theatre to the vast auditorium of the RST takes serious guts, though – not that any nervousness showed: unless it was, of course, meant to show; unless it was acted. Although not on stage, huge dollops of praise must first be given to Nicky Cox, their director (and all-round megastar)! Charlotte Froud – who was also their “rehearsal Titania”…! – was a wonderfully timorous Snug; and a giggle-provoking lion. Shirley Allwork – as Starveling, and therefore “Presenteth Moonshine” – was incredibly, beautifully dry; and has a stare that could (and did) wilt pompous courtiers at a thousand yards (not to mention a disobedient dog). David Southeard’s Snout – and rough-cast signifier of Wall – was embarrassment defined: especially when his “crannied hole or chink” was exposed; never mind having his stones “often kiss’d”. Roger Ganner, as carpenter and director Quince, has timing to die for; and was the perfect foil to his unruly company. Of course, it is Flute (a wonderfully, almost-bearded, faux-effeminate Dominic Skinner) and even more so Bottom (David Mears: on startling form – ranging from a berserk Brian Blessed-declamatory style through to some incredible falsetto, squeaking and hee-hawing) who get the best lines – Mears’ interactions with Titania being of great beauty, as well as outrageous amusement. But it was the ensemble playing that showed just how awesome this grouping is; and I really don’t have enough words of praise to describe their engaging, consummate accomplishments. (Sadly, this was their last night. Boo hoo. But they went out – as, no doubt, they went in – with both barrels blazing!) Stunning… – and what prodigal casting.

David Mears (Bottom); Ayesha Dharker (Titania) – photo by Topher McGrillis/RSC

Sam Redford was a magisterial, authoritative Theseus: often with a knowing glint in his eye; as well as a commanding stage presence. The same can be said of Laura Harding, as Hippolyta – always dignified; always in control. This is a well-matched pair: growing comfortable in each other’s presence; and increasing in charm, warmth – and love – as the night progressed. Jon Trenchard, as Philostrate – especially in the closing scene – was captivatingly bossy; and every line uttered produced increasing amounts of laughter from the audience. (Timing is a hard thing to define: but he – like so many of this magical cast – has it by the bucketload!) Peter Hamilton Dyer, as Egeus – looking not unlike Cyril ‘Blakey’ Blake, in his uniform – evolved beautifully from dictatorial to loving father; and our sympathy therefore grew accordingly.

Mercy Ojelade (Hermia); Jack Holden (Lysander); Chris Nayak (Demetrius); Laura Riseborough (Helena) – photo by Topher McGrillis/RSC

It would be easy (and lazy) just to say that all of the courtly lovers were superlative… and leave it at that. Honestly, never have I seen four actors – in all their argumentative, affectionate, boisterous combinations – play these parts so very, very, very, very well. Mercy Ojelade was a beautifully feisty Hermia: her emotions on show for everyone to see; and truly believable. At the beginning of her RSC career, this was the best of débuts. Chris Nayak turned Demetrius from villain to humorous empath – no mean feat… – and was certainly the equal of Jack Holden’s Lysander, and his mocking tongue. Both are immensely charismatic, superb at physical humour, and their continual joshing was a joy to behold! However, for me, Laura Riseborough’s Helena – who is often portrayed as a moping ninny – was (albeit marginally) the best of this constellation of brightly shining stars. I really felt for her; her every move felt justified; and her anger was discerningly and immaculately portrayed.

Lucy Ellinson (Puck); Laura Riseborough (Helena) – photo by Topher McGrillis/RSC

It seems to me That yet we sleep, we dream.

Oberon’s musician fairies – Jamie Cameron, cello; Tarek Merchant, piano (and brilliant music director); Alex Tomkins, guitar (as well as Jon Trenchard – see above – doubling on flute) – were similarly outstanding (as well as an inspired leitmotiv…). Their almost constant presence – as well as the sad packing away of instruments, towards the end – delineated and punctuated the action wittily and fittingly. Adam Cross, woodwind; Andrew Stone-Fewings, trumpet; Ayse Osman, double-bass; and James Jones, percussion – also billed as “fairies”; and also permanently onstage – helped render Sam Kenyon’s impressively befitting (and ingenious) music with immense passion (and mind-boggling stamina and precision). I have such admiration for the RSC’s “bands”; and will always be grateful that they are always ‘live’ – no recordings, here, thank you… – providing an essential (and awe-inspiring) element of immersion and involvement.

Chu Omambala (Oberon); Ayesha Dharker (Titania) – photo by Topher McGrillis/RSC

Theo St. Claire (cool as a cucumber), Mari Izzard (the one with the gentle smile), Aimee Gray (as light as air), Lila Clements (even lighter), and especially Ben Goffe (who expended more energy in one evening than I could in a lifetime; and who had the best, er, running joke of the night…) – were all stupendous as Titania’s protective and collaborative posse. Captivating – especially in their interactions with the Fairy Train of mega-talented local schoolchildren – and hilariously, teasingly affectionate in their treatment of Bottom – these were no mere sidekicks; but fabulous singers and dancers essential to the story, as well as that long-lasting overwhelming feeling of delight.

Chu Omambala (Oberon); Ayesha Dharker (Titania) – photo by Topher McGrillis/RSC

No more yielding but a dream…

I raved about both Chu Omambala (Oberon) and Ayesha Dharker (Titania), when they were last here – and they make incomparably sexy fairy royalty: ideal, sprightly soulmates; and yet with charisma, tension, chemistry and electricity buzzing between them like a horde of angry wasps. Their reconciliation was intensely moving; and I could listen to both of them recite Shakespeare’s poetry on a loop for ever and ever… – especially Omambala: whose every balletic-jazz-style move was mesmerizing; every glance intense. (I shall never see Oberon in quite the same way again.) Dharker was simply brilliant: her Titania may twinkle; yet those lights are as deep as the oceans. It was hard to take your eyes off both of them; but if Omambala glided across the stage with menace and manipulation, Dharker floated with joy and utter self-awareness. (Movement director Siân Williams, and her deputy, Polly Bennett, are definitely central to this production: their ideas flawless; and gracefully executed by all.)

Lucy Ellinson (Puck); Chu Omambala (Oberon) – photo by Topher McGrillis/RSC

The night though – as it must with any production of this glittering play – belongs to Puck. Success or failure is almost totally dependent on Robin Goodfellow’s amoral jesting; ability to gather up the audience, and take them along for the ride – despite the part’s sometimes discomfiting otherworldliness. To say Lucy Ellinson (and her top hat) accomplished all this before even a word had been uttered (and then just kept flourishing with increasing charm and cheekiness) shows just how spellbinding she was. She was born for this rôle: every single gymnastic gesture, every sideways glance, contained and meaningful; every word filled with wicked mirth and mockery; every other character – even Oberon, her almighty crush… – wrapped around her little finger (again and again and again – just like we transfixed and hopeless onlookers). She was everywhere; and always insanely enthralling. To be blunt, with the rest of the cast so similarly riveting and adept, she had to be this impossibly astonishing. I still don’t understand, though, how she made it look so darned easy….

If we shadows have offended,

Think but this, and all is mended.

That you have but slumb’red here

While these visions did appear.

Hats off to Lucy Ellinson (Puck) – photo by Topher McGrillis/RSC