#WeAreArrested / Day of the Living

#WeAreArrested set

Since reopening The Other Place, the RSC have gone strength to strength with their Mischief Festival, which takes place a couple of times a year. The latest is based around the themes of free speech and the right to protest. The two plays in this Mischief Festival are contemporary and vital.

#WeAreArrested has been adapted by Pippa Hill and Sophie Ivatts from the book by journalist Can Dündar, a real-life tale of a brave journalist exiled for telling the truth. Day of the Living, created by Darren Clark, Amy Draper and Juliet Gilkes Romero, explores the circumstances surrounding the 2014 disappearance of 43 students in Mexico.

The first play, narrated by the journalist (played compellingly by Peter Hamilton Dyer), tells how his decision to publish an exposé of his government’s corruption comes to have fateful consequences. He leaves the country, returns, and is imprisoned. The prison scenes are actually some of the best: they are certainly challenging, could easily have been bleak, but they are among the most uplifting of the whole play. Impressive stage tricks, all the more impactful for taking place on a nearly-bare stage, feel like magic, but it’s Hamilton Dyer’s strong performance, ably supported by Jamie Cameron and Indra Ové who play a variety of roles, which really holds the attention. It’s interesting that, although the play was inspired by events in Turkey, no country is mentioned in the work, which reinforces the fact that these events could happen anywhere.

Day of the Living lacks the coherence of the first play, and the story is harder to follow. However, it is a lively tale full of music, and conveys the fear and terror felt by the students and their families in the aftermath of the disappearance, mostly through the eyes of one family. Featuring a multi-talented cast who sing, play instruments, act and take on a number of roles, it’s a strong reminder that repressive regimes are not a thing of the past.


The Fantastic Follies of Mrs Rich, or The Beau Defeated

It was the title that first drew me to this play, followed by the knowledge that it was written by a woman – Mary Pix, one of the most popular playwrights of her era. Interestingly, the title The Fantastic Follies of Mrs Rich was chosen by the RSC, the original being The Beau Defeated – so it looks like their decision worked in my case. This Restoration comedy, first staged in 1700, has been directed for the RSC by Jo Davies, and is currently being performed in the Swan Theatre.

Starring the superb Sophie Stanton as newly-widowed Mrs Rich, the play follows the adventures of this wealthy woman as she searches for a husband who will give her a title and a position in society. At the same time, her lodger Lady Landsworth (the appealing Daisy Badger), another widow, is looking for love and thinks she has found it in the person of Clerimont, an impoverished young nobleman. The plot is reminiscent of Congreve’s The Way of the World (currently running at the Donmar), which also features a widow who becomes a target for cruel tricks. The outcome in this case, however, is very different.

Refreshingly, the play is dominated by the female characters: as well as Mrs Rich and Lady Landsworth we have the intelligent and cunning maid, Betty (Laura Ellsworthy), the landlady Mrs Fidget (Sadie Shimmin), and Mrs Rich’s young niece Lucinda (Aretha Ayeh, demonstrating just the right mix of innocence and mischief). Whatever their faults, it’s impossible not to admire these women, who make the most of whatever power is available to them – wealth, beauty, intelligence – to get what they want.

It’s one of the funniest plays I’ve seen in a while, with great performances from Tam Williams as Sir John Roverhead, the beau of the title, Solomon Israel as the younger Clerimont, who might be honourable and decent but is also prone to whining and fits of exaggerated despair, and Leo Wringer as his older brother, who loves his dogs more than any humans. We also get two of those dogs on stage: I’m not really a dog person, but Lossie and Theia are lovely.

Actors wear contemporary costume, which I feel suits the production better than modern dress would have done, while Colin Richmond’s design makes use of contemporary portraits to remind us of the period, with writing to remind us where each scene is set (with such a complex plot, this is welcomed).

I had such a good time at this play, and I hope the RSC will continue to put on these relatively obscure older plays so that people like me can enjoy them.

Twelfth Night

It’s safe to say that Twelfth Night is not my favourite Shakespeare play, but I’ve still managed to see some good productions in my time, not least the National’s version a few months back. The RSC’s version, directed by Christopher Luscombe, is also pretty good but very different. Set at the end of the nineteenth century when the age of decadence was in full swing, it makes use of ideas of empire, with a distinct Indian influence – here, the twins Viola and Sebastian are of Indian birth, as is Feste (Beruce Khan), who has become Olivia’s turban-wearing munshi in this production. His obvious dissatisfaction with having to clown around for his mistress’s benefit is a comment on the relationship between the powerful and the powerless, Victorian Britain and its colonies.

It’s the little details that impressed me about this production: not least the green carnation in Antonio’s buttonhole, which – popularised by Oscar Wilde and in common with the mores of the time – signified homosexuality. It lends a significance to Antonio’s care for Sebastian, in a play about gender and sexuality where women fall in love with women pretending to be men, and men fall in love with men who are actually women.

Dinita Gohil and Esh Alladi are a strong Viola and Sebastian in this production, with Kara Tointon a sympathetic Olivia. Adrian Edmondson is Malvolio, who cuts a figure more tragic than comic – much more appropriate I find, as the humorous teasing directed at him soon becomes cruel. The comic trio of Sir Toby Belch, Sir Andrew Aguecheek and Maria (John Hodgkinson, Michael Cochrane and Vivien Parry) lightens the mood with songs fleshed out by composer Nigel Hess.

This production handles the problems and contradictions of Twelfth Night extremely well, and it’s a seasonal joy to boot. Very impressive.

Imperium: The Cicero Plays

After the success of his stage versions of Wolf Hall and Bring Up the Bodies in 2013/14, writer Mike Poulton has turned his hand to Robert Harris’ Cicero trilogy. Directed by Gregory Doran, the adaptation covers two performances and six short plays: serial episode-length stories that span several key decades in Rome’s history. At the centre of the production is Cicero himself (Richard McCabe): statesman, philosopher and orator, whose rise and fall reflects the turbulence of the age.

Narrating the tale is Cicero’s slave Tiro (Joseph Kloska), who breaks the fourth wall to explain what is going on, keeping us up to date and bemoaning the fact that so many characters are called Caius. It’s an incredibly complex set of plays with many characters and plots and intrigues, so it’s just as well that it’s directed by Gregory Doran, whose ability to bring clarity to even the most complex aspects of Shakespeare’s history plays is used to the utmost here.

The relationship between Tiro and Cicero is one of the best parts of the show: more than just master and servant, there is mutual respect, and Tiro often shows more common sense than his master. Cicero, who we first meet when he is elected to the role of Consul, is a complex character: intelligent, principled, genuinely committed to maintaining the Republic, he is nevertheless prone to vanity and cowardice and is not unsubsceptible to flattery. He is often shrewd and smart, but sometimes demonstrates serious errors of judgement, particularly in the second part.

Part I, Conspirator, is about how Catiline (Joe Dixon), Cicero’s rival, incites a rebellion while Cicero plots to keep his head and save the republic; in the background, an ambitious young Senator named Julius Caesar (Peter De Jersey) begins to rise. Part II, Dictator, is set many years later, when Caesar is assassinated and his adopted son, Octavian (Oliver Johnstone), enters the fray. The plays are a fascinating conclusion to the Rome season and it’s interesting to see not only the rise of Julius Caesar, but the events of Shakespeare’s play of that name from a different perspective.

Anthony Ward’s design turns the Swan Theatre into a Roman senate with a mosaic design on the back wall, a pair of eyes, looking down on us and a giant Jupiter hanging from the ceiling. Paul Englishby’s music complements the production well.

Overall I thoroughly enjoyed this epic exploration of the history of Rome, and it’s inspired me to not only read the Robert Harris trilogy, but also Cicero’s own works.


Shakespeare’s rarely-performed 1608 play Coriolanus here forms part of the Roman season, directed by Angus Jackson. I do wonder why it comes right at the end of the season, as it is actually set well before Julius Caesar, but here we are.

The story is of a Roman general, Caius Martius, who wins glory in battle, is given the name ‘Coriolanus,’ and is subsequently asked to play a part in public life. However, he is unused to public speaking and cannot hide his personality or his contempt for ordinary people. Exiled from Rome, he seeks his revenge.

The production stars Sope Dirisu in the title role, a newcomer who is excellent in the part: considered, believable as a fearless warrior and suitably awkward as a politician. Haydn Gwynne is superb as his mother Volumnia, while Hannah Morrish also shines as his wife, Virgilia. James Corrigan ably portrays the Volscian Tullus Aufidius who is Coriolanus’ biggest rival, and there is more than a hint of eroticism in the way the pair react to one another.

The set is modern and minimalist, with an imposing grille to separate the turbulent mob from the ruling class, and sharp lighting to complement the dramatic battle scenes.

It’s not the easiest play to follow, but, as befits the RSC they have done their best to make it as clear as possible, and Coriolanus leaves the audience with lots to think about.

Kingdom Come

The last time I visited The Other Place was nearly a decade ago, when it was the Courtyard Theatre and David Tennant was playing Hamlet. A couple of years ago it was revived as a studio theatre with a number of Mischief Festivals, filled with experimental new work. The latest one sees a new play take over the theatre for the duration of September.

Kingdom Come is the work of Gemma Brockis and Wendy Hubbard, featuring a company of actors and devisers including Tom Lyall and Emmanuella Cole. It seeks to explore the English Civil War, the fall of King Charles I and the rise of Cromwell, mostly from the conflicted perspective of a group of actors. The conflict here is while the Puritans preached democracy and fairness and the end of tyranny, they also pursued draconian measures of their own – including closing the theatres.

All this in under two hours; and it’s mostly successful. We begin by witnessing a masque, performed in 1740, featuring King Charles himself and employing all the theatrical tricks and costumes possible, beneath a glorious proscenium arch. We then witness the downfall of the monarchy and are invited through the arch ‘backstage’ to witness the King’s execution and the efforts of Puritans to establish a true republic. Finally we are shown back into the auditorium where we witness a state in the throes of uncertainty and a group of actors struggling to survive.

The piece suffers from the problem many devised pieces have, in that it’s a bit fragmented and doesn’t always seem to form a coherent whole. However, I still think it’s an impressive achievement, making use of masque, tableau, movement and speeches to convey the corrupt glamour of Charles’s court and the repressive uncertainty of the Cromwellian epoch. Overall it was memorable and fascinating, and I hope to return to The Other Place soon if this is the sort of intriguing work they put on.

Dido, Queen of Carthage

I thought Dido, Queen of Carthage was a strong choice for the Royal Shakespeare Company as part of their autumn season. Directed by Kimberley Sykes, Christopher Marlowe’s 1587 play fits in well with the ‘Rome’ season in the Royal Shakespeare Theatre, concerning as it does the legendary founder of Rome, Aeneas. Fleeing from the conquered Troy with his young son Ascanius and a small band of fellow survivors, he washes up on the shores of Libya, to the delight of his mother Venus who has anxiously been observing his journey. Venus employs Cupid to ensure that Queen Dido falls in love with Aeneas, surmising that she will then want to help him, but Hermes sends Aeneas a message from Jupiter demanding that he go and seek Rome. Aeneas must decide between seeking his goal or staying with the woman he loves.

In this production, Marlowe’s play is brought to vivid life, with rich language and cast of interesting characters. As Aeneas, Sandy Grierson powerfully conveys the feelings of a man still horrorstruck by the atrocities he has witnessed in Troy, while Chipo Chung is convincing as the regal and beautiful Queen and conveys the pain of a woman spurned by the man she loves. The gods appear as a sort of comic relief, and yet what happens is all their fault, really: trying to manipulate the humans like puppets. I liked how the human characters were clothed in outfits of ancient time while the gods wore modern garb, as if they were supposed to be outside time altogether.

The only thing I wasn’t sure about in this play was the ending, which I thought lacked impact after all that had gone before. Overall, though, I thought it was a strong production.