Friday, 29 November 2019


RSC at the Barbican
Director: Greg Doran
Designer: Stephen Brimson Lewis

Talent: Antony Byrne (Duke), Lucy Phelps (Isabella)

Club: Self, RW and Mr Peter Huhne

Shakespeare set it in Vienna, so so did SBL and Doran, though three hundred years later.  Plus ca change, eh?  Well, it kind of worked.  The set design - very clever photographic projection and lighting (the famously long final scene was set in a magnificent railway station, fit for dukes and punks alike).  I didn't really get a proper sense of the decadence and moral decay that is one of the themes of the play.  Still, that may be because I missed much of the language of the first half, as my new bluetooth loop app-fangle didn't appear to work (I had head phones for the second half - a treat).  It is a terrifically intriguing play, that can be done in all sorts of ways.  Usually the duke is played as a rather neutral deus ex machina, but the truth is he is not ex at all - he has almost a third of the lines.  It is HIS play.  This production seemed to recognise that, and Antony Byrne gave an energised, driving performance.  Lucy Phelps was a bit too shouty for me.  I tend to think of Isabella's anger as controlled.  Anna Maxwell Martin, ten years ago at the Almeida, is my model.  It also has to be said that last night's Angelo maybe lacked a little sleaziness.  Then again, it is interesting that it is a Nun who gets the character going, so perhaps Shakespeare intended to suggest that even the upright can succumb, given the right temptation.

Wednesday, 27 November 2019

Miller and James

With difficulty Flick forbore to cringe
In terror at the sight of DR FRINGE.
He loomed before her like a basketballer
Who if unwound might well be even taller,
And in his bulging optics blazed unchecked
The flames of his amazing Intellect.
(from 'The Fate of Felicity Fark in the Land of the Media' by Clive James)
RIP Jonathan Miller and Clive James