What a week.
The Royal Shakespeare Company returned to the Theatre Royal, Plymouth with three sublime productions: ‘As You Like It’, ‘The Taming of the Shrew’ and ‘Measure for Measure’ between the 15th – 22nd February 2020.
These comedies provide an interesting and diverse theatrical landscape; although penned by one writer, there’s quite the variety of themes and style in this trio of plays. Common topics include disguise (a regular Shakespearean trope), sexual politics and, of course, love in its many different manifestations. Despite these core motifs, and a similar set for each play, the shows have their own clear identity and are certainly a treat to witness both individually and as a whole.
We start with the light, sunny ‘As You Like It’ – a world of glorious theatricality, charm and warmth. A detailed review for this play can be read in my discussion with Thom Skews here.
This production marks its two opposing worlds – the menacing court and friendly forest - with a unique clarity: as we enter the Forest of Arden, the house lights remain on throughout the play. This provides a joyous, communal magic, emphasising the text’s innate theatricality. It also reminds one of the benefits of a ‘relaxed’ performance; it is clear that the company aim to engage as many people as possible and take everyone on a fantastical journey.
‘The Taming of the Shrew’, fully gender-swapped to provide a fresh, matriarchal stance, is a sumptuous affair, adding ornate back walls to the set underneath an ever-present bridge. The convoluted story is presented here with a refreshing coherence, with an undercurrent of humour to oppose the infamously dark ‘shrew’ plot. Sophie Stanton as Grumia – who literally glides around the space - is a particular highlight.
Joseph Arkley is a somewhat menacing Katherine, towering above Petruchia, yet utterly shattered from the cruel taming process she exposes him to. There’s a wonderful, intriguing madness to Claire Price’s Petruchia; she commands the stage and delivers lines with great energy. An electrifying performance from the entire cast secures this play as one of the highlights of the week.
The music – inspired by 90s popular music and transposed into the gorgeous style of the 1500’s -adds a fresh dynamic, breaking up the text and injecting a celebratory buzz. The musicians, present throughout all three plays and situated on each side of the bridge, are a wonderful addition; the use of compelling sound and vigorous music is a welcomed staple of RSC productions.
‘Measure for Measure’ presents a thoroughly darker world. A series of two-way mirrors replace the walls of ‘Shrew’; an apt backdrop for a play reflecting society and the inner-demons of its characters.
A subdued, thought provoking play, ‘Measure’ is labelled as a comedy due to form: the play has a ‘happy’ ending punctuated with weddings. Happy, though, for who? Lucy Phelps (also outstanding as Rosalind in ‘As You Like It’) plays a pained Isabella, conflicted between helping her brother and remaining faithful to her religion. Patrick Brennan is wonderful in the role of the Duke and Joseph Arkley, the head-shaven, grievous Katherine in ‘Shrew’, plays a spritely Lucio in this production. I was particularly impressed with David Ajao, who relished his role as the mischievous Pompey.
It is somewhat heart-warming to chart the work of one group of actors in rep; by the end of the week, they felt like family. It’s particularly interesting to compare and contrast performers in their different roles. Lucy Phelps and Sandy Grierson – starring in both ‘As You Like It’ and ‘Measure’ – are particular highlights, shining in their diverse personas. But Sophie Stanton as Grumia in ‘Shrew’ and the melancholic Jacques in ‘As You Like It’ truly steals the show(s). Phelps, Grierson and Stanton, along with Patrick Brennan, are perhaps the best Shakespearean actors I’ve seen in a long while. The entire company, in fact, are a treat to behold.
The RSC continue their UK tour in Nottingham Theatre Royal (26th February – 7th March) before moving onto the Newcastle Theatre Royal (11th – 21st March) and the Blackpool Grand Theatre (25th March – 4th April.)
I urge you not to miss this incredible repertory of Shakespearean gems.
Tim Norman, 2020 | Theatrabilia
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