Katy Stephens – between the acts

Top Lists of 2013

Top Shakespeare

1. All’s Well That Ends Well, (RSC RST and Theatre Royal Newcastle).
2. As You Like It (RSC, RST and Theatre Royal Newcastle).
3. Titus Andronicus (RSC, Swan Theatre).
4. Julius Caesar (Donmar Warehouse).
5. The Taming of the Shrew (Propeller, Newcastle Theatre Royal)
6. Macbeth (Trafalgar Studios).
7. Richard II (RSC, RST and Barbican).
8. Othello (National Theatre).
9. Hamlet (RSC, RST and Theatre Royal Newcastle).
10. Twelfth Night (Propeller, Newcastle Theatre Royal).
11. Coriolanus (Donmar Warehouse).
12. As You Like it (Globe).
13, Macbeth (Globe).
14. Henry V (Noel Coward Theatre).
15. A Midsummer Night’s Dream (Globe).
16. The Merry Wives of Windsor (RST).
17. The Winter’s Tale, (RST and York Grand Opera House).
18. Richard III (York Theatre Royal).
19. A Midsummer Night’s Dream (Noel Coward Theatre).
20. The Tempest (Globe).

Top Theatre (Not Shakespeare)

1. The Effect – Lucy Prebble (National Theatre).
2. This House – James Graham (National Theatre).
3. Curious Incident of the Dog in the Night-Time – Mark Haddon and Simon Stephens (National Theatre at the Apollo).
4. Edward II – Christopher Marlowe (National Theatre).
5. Talk Show – Alistair McDowall (Royal Court).
6. A Boy and His Soul – Colman Domingo (Tricycle).
7. A Mad World My Masters – Thomas Middleton (Swan).
8. Jumpers for Goalposts – Tom Wells (Bush Theatre).
9. Blink – Phil Porter (Soho Theatre).
10. Chalk Farm – Kieran Hurley and A.J. Taudevin (Underbelly, Edinburgh Fringe Festival).
11. There Has Possibly Been an Incident – Chris Thorpe (Northern Stage at St Stephen’s, Edinburgh Fringe Festival).
12. Same Deep Water as Me – Nick Payne (Donmar).
13. Feast -Yunior Garcia Aguilera, Rotimi Babatunde, Marcos Barbosa, Tanya Barfield, Gbolahan Obisesan (Young Vic/Royal Court).
14. The Victorian in the Wall – Will Aamsdale (Royal Court).
15. Let the Right One In – John Ajvide Lindqvist and Jack Thorne (Royal Court)
16. The Weir – Conor McPherson (Donmar)
17. Wot? No Fish! – Danny Braverman (Summerhall, Edinburgh Fringe Festival)
18. Home – David Storey (Arcola).
19. Candide – Mark Ravenhill (Swan).
20. Choose Your One Documentary – Nathan Pennington (Gilded Balloon, Edinburgh Fringe Festival).

Exhibitions

1. David Bowie (Victoria and Albert)
2. Pre-Raphaelites (Tate Britain)
3. Life and Death in Pompeii (British Museum)
4. Lowry (Tate Britain)
5. Elizabeth I and Her People (National Portrait Gallery)
6. Paul Klee (Tate Modern)
7. Manet. Portraying Life. Royal Academy
8. Summer Show (Royal Academy)
9. Peer Doig (National Gallery of Scotland)
10. Glam The Performance of Style (Tate, Liverpool)

December 28, 2013

Julie RabyLeave a comment

Titus Andronicus (The Swan 16th May to 25th October)

The trailer for this production promises lots of blood, and you go you won’t be disappointed if that’s what you expect. Of course, if that’s your thing, one of the highlights has to be sitting in the front row and getting splattered in blood. However, it is stage blood so it washes out very easily, and it’s part of the fun of live theatre.

One of the great things about blog reviews is that you can see a production develop and grow before reviewing it. I first saw the production on its first preview, and I knew that this production was going to be good, but there was little stage blood (because they had run out) and it hadn’t found the pace that it’s now got in the middle of the run. Now this is not to be missed production with an ensemble that are working extremely well together in the Swan theatre across three shows ( also A Mad World My Masters and Candide).

When the audience enters the stage they are faced with three bodies on stretchers being tended to by nurses. There is a strange speech coming from the radio. One of the nurses (Badria Timimi), moves forwards and lights up a cigarette and the play has begun. This is a strange world,which is not in the past or present or future, but in a mixture of all three.

It is not just the blood that is a highlight in this production Katy Stephens is absolutely mesmerizing as Tamora. Jonny Weldon and Perry Millward are outstanding as Chiron and Demetrius. Kevin Harvey plays Aaron with a lovely musical voice and with such skill. The way Aaron says ‘Just a line in Horace’ gives it such power. His love for the baby is very moving. We see Tamora, Aaron, Chiron and Demetrius supporting each other from the start as they are in chains and are captives of the Roman Army. This gives a clear rationale why these four stick together, and support each other. I particularly liked the two Goth brothers cycling round the stage before the rape of Lavinia (Rose Reynolds), and the way that Aaron reasons with them that rape is the best course of action leading to the horrific scene. These are four performances that you just can’t take your eyes off.

What is exceptional about Katy Stephens’ performance is that at the start she is playing the captive emotional mother and the piercing howl she gives when her eldest son is butchered, but throughout the performance she becomes bolder as the Empress and transforms. She also get to wear the most amazing outfits and shoes. Tamora is particularly chilling when she sets up the murder of Bassianus, and is unmoved by Lavinia’s pleading, delighting in the fact that her sons are about to rape and mutilate her. There’s a lovely moment in the final scene where Lavinia stares at Tamora across the dining table, and Tamora, at first puzzled, realises that Lavinia has revealed all. Why does Tamora take another spoonful of the pie when she knows the truth? For me, this moment revealed her shock and horror at finding out the truth, but she hesitates to believe it at first.

Stephen Boxer gives a very solid performance as Titus. Like King John, he makes crucial errors in moving from war to peace. His decision to murder Alarbus (Nicholas Prasad) in front of his family is disastrous, as is his rash slaughter of his son Mutius (Harry Mcentire), for disobeying him. It is possible to believe that he oscillates through madness and grief and it becomes hard to believe that he will be taken in by Tamora’s playacting as Revenge, giving an energy and tension to the penultimate scene.

Rose Reynolds performance as Lavinia is extremely good. She plays as determined and it is right she fights back when Titus smothers her in the final scene. As other bloggers have commentated it is not always clear why Marcus (Richard Durden) does not move to hug Lavinia when he finds her mutilated in the woods.

There’s a great performance from John Hopkins as Saturninus. He brings such a wry humour to the role. For example when he is to be crowned he turns to the audiences and gives a satisfied smile. At one point he is sat in a bath wearing his crown, which is a very humorous, and this is added to by the fact that he is also naked.

The scenes with Lucius and the Goths are lovely contrasts to the Roman scenes. The drums bring in a thundering beat at a moment in the play, when the it feels that things can’t get any worse. Titus has been tricked into chopping off his hand, Lucius and has been banished and Lavinia has been horrifically mutilated. Sarah Ridgeway plays a very convincing Goth queen showing her versatility across several roles this season. It was a great decision to go into the interval at the moment when Lucius is branded by the Goths and there is a screech in the air.

The finale is great fun. the fact that most of the characters are dead on stage leads to some very serious lines becoming very funny. We are left with two startling images. The first is the unrepentant Aaron left to die buried in a pit with just his head exposed, and the second is Young Lucius walking across the stage with Aaron’s baby. Young Lucius spies the pie slice and picks it up as Aaron horrifies looks on. The lights go down and we are left to wonder if the child will slaughter the baby, and the brutality will continue to the next generation.

This is Michael Fentiman’s debut at the Royal Shakespeare Company as a director, but his experience as an assistant director on shows such as Rupert Goold’s Romeo and Juliet has clearly paid off. Some of the devices used in this production have been influenced by his pervious work such as the use of the raised platform.

There’s even a magic trick in the production. What happens to the bodies that are on stage when you enter the auditorium? How do they disappear whilst you watch.

This summer is an outstanding Royal Shakespeare Company season in both theatres , which is reassuring after the disappointing lack-lustre shipwreck season last year. There is more to come including Richard II and hopefully an announcement of a Summer 2014 season coming soon.

Trailer

Reviews and Previews

My Titus Andronicus Storify page

Blogs

http://theatre.revstan.com/2013/08/review-the-rsc-stages-titus-andronicus-shares-in-stage-blood-soar.html

September 2, 2013

Julie RabyLeave a comment

What happened to the RSC's long ensemble?

The RSC long ensemble gala in the Swan 2011. The gala was to raise funds for James Gale and his family.

Updated 6th January 2013. Thanks to updates from RSC long ensemble audience members.

After I saw Debbie Korley and Dharmesh Patel in the RSC’s young people’s King Lear at the Theatre Royal in York recently, I started to wonder what the rest of the RSC’s long ensemble were dong now. I had seen some of long ensemble working in the theatre over the past year, and heard about other things they’d done since the long ensemble project ended after a residency New York in the Summer of 2011. The long ensemble was made up of 44 actors and started in Stratford in the Spring of 2009 with As You Like It (dir by Michael Boyd) and The Winter’s Tale (dir by David Farr). These two plays were joined in the Summer of 2011 by Lucy Bailey’s Julius Caesar. For me the success of the long ensemble came the year after with Rupert Goold’s Romeo and Juliet and David Farr’s King Lear. Both plays played with time and space and for me the plays worked well with the transition from the Courtyard theatre to the new RST (via Newcastle and the Roundhouse). It was the long ensemble that opened the new RST and brought the RSC home – so to speak. The partnership between Jonjo O’Neill and Sam Troughton, as Mercutio and Romeo, brought an energy to the project, but also demonstrated how a partnership built up over a period of time could work so well.

I am sure that it was hoped that the actors and directors would move on to other things, and that some would return to the RSC.

There’s been a few long ensemble reunions in 2012. The first was the Duchess of Malfi reuniting Adam Burton and Tunji Kasim at the Old Vic. Another reunion was down the road from the Old Vic, at the Young Vic, where Sam Troughton, Mariah Gale and Gruffudd Glyn could be seen in Three Sisters. As well as Three Sisters it seems that Sam Troughton has been very busy since he left the long ensemble. He was in A Streetcar Named Desire in Liverpool, and Love, Love, Love at the Royal Court, as well as The Town on television. Mariah Gale is currently in Gruesome Playground Injuries at the Gate Theatre.

Later in the year, at the Old Vic, after being in Children’s Children at the Almeida, Darrell D’Silva was in the very successful Hedda Gabler. Forbes Masson will be playing Banquo alongside James McAvoy’s Macbeth Westminster studios. was in The Lion, the Witch and the Wardrobe, plating Mr Tumnus, for Threesixty Theatre in Kensington Gardens. The production was directed by long ensemble director Rupert Goold. He also starred in the Belgrade Theatres Crackers. There were also glimpses of Forbes supporting Melanie Masson’s on ITV’s X Factor.

The RSC women seemed to have done well since the long ensemble project ended and I enjoyed, Noma Dumezweni, Katy Stephens and Mariah Gale’s audio performances as the three witches from Macbeth in the Staging Shakespeare exhibition at the British Museum. Noma Dumezweni was also in Bola Agbaje’s play, Belong, at the Royal Court in the Spring of 2012 and will be in The Feast at the young Vic from February. I managed to see Katy Stephens, who was excellent in Calixto Bieito’s Forests, but missed her playing Laura in The Father at the Belgrade theatre in Coventry. Katy is currently playing the fairy in the Belgrade Theatre’s Sleeping Beauty. Kirsty Woodward was fantastic in Kneehigh’s Steptoe and Son, which I saw at the West Yorkshire Playhouse, and at the start of 2012, I saw her in The Way of the World Sheffield Crucible.

Kathryn Hunter joined the long ensemble in the second year of the project, and made a quick exit in the middle of the Roundhouse season. She went on to revive her as Peter the Red Ape in Kafka’s Monkey, which I thought was a stunning piece of physical theatre and then returned to the RSC in A Tender Thing this autumn.

One thing that has been surprising is how few of the long ensemble returned to Stratford after the long ensemble project finished. Though Jonjo O’Neill returned to the RSC in a very successful Richard III in the summer of 2012, it has taken awhile for a group of actors to return to the RSC to work together. Indeed, it has taken over a year for four members of the long ensemble to work together again in the Swan in Stratford. Adam Burton, Paul Hamilton, Patrick Romer, and James Tucker are now back in Stratford performing in the long ensemble in the Swan and Ansu Kabia is playing Nim in The Merry Wives of Windsor. Greg Hicks will return to the RSC in 2013 to play Claudius in Hamlet. Oliver Ryan is another member of the long ensemble to return to Stratford for the 1013 Summer season, and long ensemble director, David Farr, will be directing Hamlet.

Sadly Peter Shorey and James Gale have passed away.

And what happened to the other long ensemble directors? After directing a very good Taming of the Shrew for the RSC Winter season 2012, Lucy Bailey returns to the RSC for the Winter 2013 to direct The Winter’s Tale. Greg Doran,who directed the long ensemble interlude, Morte D’Arthur, took over the RSC as Artistic Director in September 2012 and I am now awaiting the announcement of his first season. He is currently directing The Orphan of Zhao in the Swan.

And the Artistic director, Michael Boyd what’s he doing now? Well, he left the RSC in September 2012, but his final production as a director at the RSC, Boris Godunov is now in the Swan.

I think some people felt that the long ensemble was too large to work well, and that many of the actors didn’t really get chance to use to really shine. However, the long ensemble did give some actors a chance to play a range of parts. Sam Troughton showed he could play both the lead and bit parts with great skill. Indeed, he produced was exceptional as a Lord in The Winter’s Tale and entertaining as an energetic and angry Romeo in Rupert Goold’s Romeo and Juliet. It’s no surprise to see that Sam Troughton has gone on to play a range of parts since leaving the RSC, and his Mercutio, Jonjo O’Neill, has also shown his range and he is getting great reviews at the National Theatre in The Effect,

Other actors, who showed some promise in the long ensemble do not seem to have done other things. For example, Dyfan Dwyfor played a much more emotional Romeo than Troughton, when I saw him understudy Troughton early in the Straford run. I have not seen that Dwyfor has been in the theatre, since leaving the RSC and even the long ensemble has not changed the transient nature of most actors’ lives. I am hoping that Debbie Korley and Dharmesh Patel will go on to do more than the Young People’s Shakespeare. Both have demonstrated through this vehicle that they can do more than waiting women and bit parts and I look forward to seeing them in other things in the future.

I will have missed many long ensemble appearances, so please let me know of any others that are not here, or about anything you’ve seen with an actor from the long ensemble in it.

Update 10th March 2013

I have recently see Noma Dumezweni in Feast at the Young Vic theatre and Sam Troughton in Bull at Sheffield Crucible. Katy Stephens and David Rubin are also returning to Stratford over the Summer to work in the Swan.

My Long ensemble blogs

The Winter’s Tale and As You Like It

As You Like It, Newcastle 2009

Katy Stephens’ Hair

Julius Caesar

The RSC ensemble debate

Romeo and Juliet again

Antony and Cleopatra part 1

Antony and Cleopatra part 2

RSC Revealed

New Writing at the Hampstead Theatre

Full details about the long ensemble project can be found here.

December 30, 2012

Julie Raby2 Comments

2011

In 2011, the sublime was a popular topic of discussion. At the National Theatre there was Frankenstein and in the John Martin exhibition at the Tate, the sublime was on show in a spectacular way. The John Martin exhibition was my favourite exhibition of the year. The epic was presented on grand canvases, but what I loved was getting really close to the paintings to see the detail. Earthly worlds melted into fantastical worlds and where one started and the other finished it was really hard to see. I missed out on seeing Jonny Lee Miller as the creature, but glad I got to see Benedict Cumberbatch in the role in April.

Though I was delighted by the great John Martin exhibition on a trip to Manchester, I was also impressed by the Ford Maddox Brown exhibition at the Manchester Art Gallery. It was good to see other works alongside Work.

The Royal Shakespeare Company came home to perform in the new Royal Shakespeare Theatre in February. Some of the productions that I liked in 2011 were at the end of the long ensemble’s run, but I also looked forward to what the new company arriving. In Stratford, there seemed to be so many ‘opening’ nights that every time I went to Stratford was some kind of event – the first night, the press night, and the queen opening the new theatre. I was lucky to get tickets to see Katy Stephen play Cleopatra in a much more stripped down emotional version of the long ensemble’s Antony and Cleopatra in the Swan theatre. When the opening nights were over, the last night of the long ensemble seemed to happen so quickly. The last day that the long ensemble performed in Stratford was a great occasion because I saw three plays in a day and the last time I would see Rupert Goold’s Romeo and Juliet. The long ensembles’ last work in Britain was three new plays at Hampstead Theatre.

Kathryn Hunter’s Cleopatra got mixed reviews. It was a performance I had grown to like, and I was so pleased I got to see her in Kafka’s Monkey in July. This was a polished and extraordinary piece of physical theatre.

The new company arrived at the Royal Shakespeare Theatre with a Macbeth and a thought-provoking Merchant of Venice. The critics seemed to prefer A Midsummer Night’s Dream, but out of the three main house Shakespeare productions, I thought this was the least inventive and exciting. This was a production with Bottom wearing his packed lunch in inventive ways as he sleeps with the fairy queen and which the real world transformed into the woods in such a way, we were meant to feel that elements of the court world were seeping into the dream world. Michael Boyd’s Macbeth played with time and the souls of the dead haunting the stage. Rupert Goold’s Merchant of Venice gave Portia a central role in a production set in Las Vegas. However, the joy for me was the Homecoming at the Swan. This was a beautifully nuanced piece of work and for me beautifully captured the tone and mood of play.

Beauty was on show in the Leonardo da Vinci exhibition at the National Galley and in Eddie Redmayne’s Richard II at the Donmar Warehouse. Unlike the John Martin exhibition it was so hard to get up clue to anything in the popular National Gallery show. It was so nice to be directed through the gallery past the other Renaissance pairings to the exhibition around the Last Supper. I really enjoyed Redmayne’s performance as Richard falling apart in from to me.

In other Shakespearean productions, Kevin Spacey’s Richard III which was fantastic and brutal and The Tempest at the Haymarket was a little plodding with a nice performance from Nicholas Lyndhust.

I found the Afghanistan: Crossroads of the Ancient World (British Museum) fascinating, and I felt that I should have enjoyed the Grayson Perry at the British Museum more than I did. I was drawn to the Glamour of the Gods at the National Portrait Gallery, which is always a great place to visit before a matinée.

I saw five different production of Hamlet in 2011, starting the year with the wonderful production at the National Theatre, and finishing with Michael Sheen’s performance in the Young Vic’s production which was set in a mental hospital. The other Hamlets were the Northern Broadsides, the RSC Young Person’s wonderful production and the Globe’s touring production.

I saw three different Comedy of Errors. The year with the magnificent all male Propeller Company production in Sheffield and finished the year with the National’s lively production. Lenny Henry was spot on with the verse and the set really worked on the large Olivier stage. Though both these productions were superb, I also really liked the RSC Young Person’s version which I saw for the first time when it was last performed in April.

Not all the cultural events have been memorable. In thinking about the past year, I’d totally forgotten about seeing Twelfth Night at the National Theatre until I heard someone on the radio saying that Charles Edwards was their choice for actor of the year. They reminded me that not only had he been a superb Benedick, but he’d also been a decent Sir Andrew in a dull production at the National Theatre.

Much Ado About Nothing scaffolded the year for me personally . It had been a long time since I’d seen a production, nd then two excellent, but very different productions came along. I loved the Globe’s detailed production and Eve Best’s wonderful performance as Beatrice. I was so surprised when she played the ‘Kill Claudio’ line for laughs. Over the river at the Wyndham’s Theatre was the commercial 1980’s concept production which I saw many times starting with the first night. It was great fun and the performances from David Tennant and Catherine Tate were great and totally in context in this production. There was some comment that the audience only laughed because they saw David Tennant on stage, but when Alex Beckett took over from David Tennant for two nights the laughs came in the same places and it seemed the audience enjoyed the production and still gave it a standing ovation.

…..and my highlight of 2011 was Adam James’ Don Pedro in the Wyndham’s Much Ado About Nothing. It was a wonderful performance that seemed to catch the character so well. James made everything look so easy, but actually it was his supporting performance that made it possible for Tate and Tennant to give great comic performances.

January 1, 2012

Julie RabyLeave a comment

Best of 2011

Here is my best of.. lists. The following post discusses what I thought about the year.

Shakespeare in the Theatre

1. Romeo and Juliet (RSC at the RST)

2. Much Ado About Nothing (Globe)

3. Hamlet (The National Theatre)

4. Much Ado About Nothing (Wyndham’s)

5.The Comedy of Errors (Propeller at Sheffield)

6. Antony and Cleopatra with Katy Stephens and Darrell D’Silva (RSC at the RST)

7. Macbeth (RSC)

8. The Merchant of Venice (RSC)

9. King Lear (RSC at the RST and Roundhouse)

10. Hamlet (Young Vic)

11. Othello (The Crucible, Sheffield)

12. As You Like It (RSC at Roundhouse)

13. Macbeth (Liverpool Everyman)

14. All Well That End’s Well (The Globe)

15. The Comedy of Errors (Young Person’s at RSC)

16. Hamlet (Northern Broadsides at West Yorkshire Playhouse)

17. Hamlet (Globe touring)

18. The Comedy of Errors (National Theatre)

19. Richard III (Old Vic)

20. Richard II (Donmar)

21. Hamlet (Young Person’s at RSC)

22. King Lear (West Yorkshire Playhouse)

23. The Tempest (Theatre Royal, Haymarket)

24. A Midsummer Night’s Dream (RSC, RST)

25. Twelfth Night (National Theatre)

Other Theatre

1. Jerusalem (Apollo)

2. The Homecoming (RSC at the Swan)

3. Frankenstein (The National)

4. One Man, Two Guvnors (The Lowry)

5. Anna Christie (Donmar)

6. The City Madam (RSC, The Swan)

7. Dr Faustus (The Globe)

8. Betrayal (Harold Pinter/Comedy)

9. Inadmissible Evidence (Donmar)

10. Cardenio (RSC, The Swan)

11. Rosencrantz and Guldenstern are Dead (Haymarket)

12. Grief (The National)

13. 13 (The National)

14. Silence (RSC at Hampstead)

15. Little Eagles (RSC at Hampstead)

16. Season’s Greetings (National Theatre)

17. Juno and the Paycock (National)

18. Cause Célèbre (Old Vic)

19. Deep Blue Sea (West Yorkshire Playhouse)

20. Moonlight (Donmar)

21. The Crucible (York Theatre Royal)

22. The Heretic (Royal Court)

23. Forty Years On (York Theatre Royal)

24. American Trade (RSC at Hampstead)

25. Beggar’s Opera (Belt Up at York Theatre Royal)

Note: Forty Years On is here for proud Mum reasons.

Exhibitions

1. John Martin (Tate Britain)

2. Ford Maddox Brown (Manchester City Art Gallery)

3. Degas (Royal Academy)

4. Leonardo da Vinci (National Gallery)

5. Juma Plensa (Yorkshire Sculpture Park)

6. Glamour of the Gods (National Portrait Gallery)

7. Gerhard Ritcher (Tate Modern)

8. First Actresses (National Portrait Gallery)

9. Miro (Tate Modern)

10. Afghanistan: Crossroads of the Ancient World (British Museum)

11. Gabriel Orozco (Tate Modern)

12. Watteau (Royal Academy)

13. Hokusai’s Great wave (British Museum)

14. Treasures of Heaven (British Museum)

15. Devotion by Design (National Gallery)

16. Royal Academy Summer Show 2012

17. Building the Revolution (Royal Academy )

18. Barry Flanagan (Tate Britain)

19. Grayson Perry (British Museum)

20. Tacita Dean (Tate Modern)

My great cultural moments of 2011

Meeting Sir Alan and Lady Ayckbourn

First night of Wyndham’s Much Ado About Nothing

Last night of Long Ensemble (2009-11) at Royal Shakespeare Theatre – Romeo and Juliet

First night of Long Ensemble (2009-11) at the opening of the Royal Shakespeare Theatre – King Lear

The performance of the year – Adam James as Don Pedro in Wyndham’s Much Ado About Nothing – just wonderful.

Edinburgh Festival

The RSC Ensemble Revealed at the Swan Theatre.

Best actor and actress

Best Actor – Adam James in Much Ado About Nothing (Wyndham’s)

Best Actress – Eve Best in Much Ado About Nothing (The Globe)

January 1, 2012

Julie RabyLeave a comment