Othello - Review

Sam Wanamaker Playhouse, London

*

Written by William Shakespeare

Directed by Ola Ince

Ken Nwosu and Poppy Gilbert

With the action being set in 2023 London, this take on the Moor is more Moorgate than Venetian. And with most of the male characters being played as Metropolitan Police officers, Shakespeare’s dialogue has been liberally butchered too. Countless references to “Scotland Yard” and exclamations of “Guvnor!” make the evening feel like a badly written episode of The Sweeney that drags on for an excruciating 3 hours.

In trying to make this troubling tale of treachery, jealousy and racism accessible, director Ola Ince has cheapened the original. Mangling the Bard’s prose with contemporary slang not only disrespects the verse, it blunts its beauty. Shakespeare's early, subtle and nuanced and expressions of love are trampled by this treatment, leaving the plot hard to follow for those unfamiliar with the story. And while this may be the Wanamaker Playhouse with its famed candelabras, far too much of the play’s time is inexplicably wasted lighting, hoisting and snuffing out the flickering flames.

Struggling to break through the crackle of the police walkie-talkies punctuating the show, Ken Nwosu makes a decent attempt at the title role with a passionate performance. Equally Ralph Davis as Iago is appropriately villainous, and (what should be) the play’s final scene does prove surprisingly moving. Poppy Gilbert as Desdemona (or Desi as she’s frequently referred to in another act of textual carnage) saves her best for her swan song.

Ultimately this production is little more than a thinly-veiled attack on London's police force. While the Met may be a flawed institution for a variety of reasons, to clumsily denigrate it on the back of Shakespeare's verse is lazy politics and equally lazy theatre. Ince should try writing or directing an original piece to make his point about the cops. His corruption of Shakespeare's writing kills both the argument of the original, carefully crafted text as well as his more contemporary beef against the police. 

And of course, at the end, Othello gets tasered. Natch....

Runs until 13th April

Photo credit: Johan Persson

The Alchemist - Review

Barbican Theatre, London


****

Written by Ben Jonson
Directed by Polly Findlay

Mark Lockyer

First performed in 1610, Ben Jonson's powerful and timeless satire of city life is presented here at its best, thanks to a flamboyant and utterly enjoyable RSC production.

The Alchemist has always been a vibrant tale about human miseries and weaknesses, with its promenade of highly iconic and recognisable characters. Polly Findlay's beautiful direction however adds something more to the story: an up-to-date twist and a sparkling syncopated rhythm.  The new prologue and script revisions by Stephen Jeffreys are fundamental in achieving that. The original version's sometimes wordy text, cut by one fifth here, is lighter and clearer. What is left is a magnificent play that, at its very core, proves capable of engaging a contemporary audience too.

The cut and thrust dialogue between the on and off sides of the stage starts from the very beginning with the sparkling use of the musical prologue: a complex twine of classical and cinematographic melodies cleverly arranged by composer Corin Buckeridge and sound designer Gregory Clarke.

The plot is well-known: during the plague of 1610 a mischievous trio formed by Face, Subtle and Dol Common take advantage of the temporary absence of the master of the house – the wealthy Lovewit – and use it as the headquarters of their dubious trade.

Subtle, playing the part of the Alchemist, arranges a series of swindles to the detriment of various greedy and foolish human beings: taking advantage of their vanities and very worldly desires he manages to help relieve them of their money. But in mad times it is all too easy for the trickster to become the tricked

The sharp, witty script is delivered impeccably by the three leads and this production's real strength lies in the energetic chemistry between them: like three separate elements they are the human embodiment of the perfect alchemic process. Mark Lockyer’s superb Subtle is all power and rush, like a rascally version of a grumpy Prospero, a masculine presence that reigns over the stage; Ken Nwosu’s Face is utterly convincing in its humanity, he is the “Servitore di due padroni” – the unfaithful servant who in the end proves his faith, while Siobhan McSweeny’s depiction of Dol Common is truly surprising – there is so much unsaid in her character, but nonetheless she is able to turn each silent look into an entire speech.

A saucy farce, slightly reminiscent of Blackadder, The RSC's Alchemist is pure gold and shouldn't be missed. Go and discover it for yourself!

Runs until 1st October

Reviewed by Simona Negretto

Photo credit: Helen Maybanks