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The Taming of the Shrew (Susan Elkin reviews)

society/company: West End & Fringe
performance date: 09 Oct 2018
venue: Tristan Bates Theatre, London

★★★

Photo: Nikki Leigh Scott

They do things differently at Shake-Scene. Actors are given their parts and their cues but do not see the rest of the play or rehearse together in advance. This is, of course, how it was done in Shakespeare’s time – when there was no copyright law – to prevent actors from selling play texts to other companies.

I saw the second performance of The Taming of the Shrew rather than the first so these eleven actors, directed by Lizzie Conrad Hughes who sits at the side on the stage “on the book” were beginning to cohere although their clearly not knowing quite what to expect confers an engaging freshness.

The piece is set (without the tedious framing device) in a modern-ish environment – with 21st Century clothes and food served in a Pret bag – on a bare stage with audience on two sides. You sense that the lack of blocking and there’s rather a lot of standing around when a bit of stage business wouldn’t come amiss. On the other hand each of these actors is sufficiently skilled and engaging that they carry most of the play off simply on the power of personality. There’s a lot of nicely differentiated doubling. And all things considered it zips along at a surprising brisk base so the interest rarely dips.

We start with Petruchio (Matt Williams) looking for a rich wife and deciding to take on, and “tame,” the challenging Katherina (Helen Rose-Hampton) for reasons of his own. Eventually, of course, it’s ‘Kiss me Kate’, unexpected mutual falling in love and a private deal so that he wins his wager against the other men.

Williams is splendid as the dictatorial chauvinistic Petruchio. He shifts adeptly between fortissimo tyranny and dangerously, pretended, calculated gentle pleading. And his falconry soliloquy which makes his full intentions clear is pretty chilling. Williams makes the character charismatically entertaining but, my goodness, you wouldn’t, really wouldn’t. want him in your life.

Rose-Hampton finds an appealing vulnerability in Katherina. Yes she’s feisty and bitterly angry at the way her younger sister Bianca (Nell Bradbury) is always favoured but she’s also hurt and troubled and Rose-Hampton never lets us forget that.

Nell Bradbury turns in a lovely performance as Bianca – actually quite spiteful with a wonderful repertoire of dirty looks and smouldering rage when she’s not flirting. Also noteworthy are Jonathan McGarrity’s urbane Hortensio, Alexandra Kataigida’s knowing, simpering Widow and Linda Mathis as a sexy, laid back Vincentio.

Because these actors don’t know each other’s parts they often forget their own – that’s part of how Shake-Scene works so they call “line” to Conrad Hughes who prompts them. It’s quite an entertaining device that they do this firmly in character or in the tone of the moment so that the prompts almost become an integrated part of the play.

Photo: Nikki Leigh Scott

 This review first published by Sardines: http://www.sardinesmagazine.co.uk/reviews/review.php?REVIEW-West%20End%20&%20Fringe-The%20Taming%20Of%20The%20Shrew%20-%20%E2%98%85%E2%98%85%E2%98%85&reviewsID=3342
Based on the novel by Mark Haddon, adapted by Simon Stephens. Produced by the National Theatre.
society/company: National Theatre (professional) (directory)
performance date: 09 Oct 2018
venue: Aylward Academy, Tottenham, London (part of a UK schools tour)

★★★★

Photo: Richard Davenport

This fine, sensitive entertaining study of high level autism and family break up, directed by Marianne Elliott, wowed audiences at the National Theatre in 2102, did very well in the West End and then toured nationally. Now an equally excellent 90-minute version is touring 60 schools so that a new generation meet Christopher Boone and reflect on his problems. Mark Haddon’s novel, adapted by Simon Stephens, has become a theatrical evergreen.

I saw it with a very excited and excitable Year 8 audience at Aylward Academy in Tottenham at an afternoon performance. Drama students had seen it the morning. The school has a large theatre in a separate building, configured in the round for this show, so there were none of the usual school hall problems. And the National Theatre ensures high level production values for this tour with a floor space like graph paper to connote Christopher’s mathematical talent and props in boxes around the perimeter. Of course it isn’t illuminated as in the original show but everyone is seated so close that it really doesn’t matter.

The now well known story is that a neighbour’s dog has been killed and Christopher, Sherlock Holmes-like, sets out to solve the murder mystery. Along the way he discovers devastating things about his own family.

The ensemble cast of eight is very strong and there’s a lot of accomplished doubling and physical theatre to connote things like a cash machine or a train. At the heart of the show is a magnificent performance from Shiv Jalota as Christopher – intense, angry, confused, trying to focus but living in a different mental world from everyone around him. When distressed he groans and howls and it’s deeply disturbing. At other time he grins and you know that somehow one day Christopher will be OK.

Equally fine is the work by Nick Pearse as Christopher’s troubled, often angry dad who really does love him but is struggling to cope as a deeply damaged single parent. No one in this well observed piece is perfect and nobody is wicked but there is a great deal of well captured anxiety, angst, poor decision making and human messiness. Pearse (also a good policeman and a few other roles) ensures that we feel every ounce of this man’s anger and remorse.

Not that this is any sort of tragedy. It’s very funny. Christopher’s autisitic eccentricities are often tenderly hilarious and of course a young audience will whoop in delight if an adult on stage uses the sort of language, they continuously speak in themselves in the playground.

All in it’s all a very impressive 90 minutes of theatre. This is not the place to express my misgivings the problems about reviewing shows in schools which have rigid rules about journalists on the premises but I fully intend to do so elsewhere soon.

Photo: Richard Davenport

 

This review was first published by Sardines: http://www.sardinesmagazine.co.uk/reviews/review.php?REVIEW-National%20Theatre%20(professional)-The%20Curious%20Incident%20of%20the%20Dog%20in%20the%20Night-Time%20-%20%E2%98%85%E2%98%85%E2%98%85%E2%98%85&reviewsID=3341

society/company: Dance Attic Studios
performance date: 06 Oct 2018
venue: Dance Attic Theatre

★★

This play is set three hundred years after the expulsion of long-lived Adam and Eve from the Garden of Eden. Cain, banished for the murder of his brother Abel, drops in with his new partner from Africa, Lucy, the (real-life) famous scientific discovery of the earliest example of a hominid found in Olduvai Gorge.

So we’re conceptually somewhere between Sapiens, Children of Eden, Noye’s Fludde, Lucas Cranach’s famous 1528 painting, with more than a whiff of Charles Darwin – all anachronisitically spliced together with no apology to Monty Python. It’s an undoubtedly good idea but in the event I’m afraid it’s clumsy, self conscious and laboured. Yes, in places Going Ape is mildly witty (Eve’s “apple scrumping”, Cain’s “gap year” and God cast as a voice over) but in general it tries far too hard to be funny with a surfeit of “erectus” jokes and dreadful puns such as Genny-Sis (one of the characters is called Genny and likes to be addressed as Sis by her quasi sister-in-law) which becomes – geddit? – Genesis. Oh dear.

It’s a mystery to me, too, why anyone thought that a 75-minute piece needs a 15 minute interval after 35 minutes. It makes the show feel bitty and the audition/casting scene in the second half when it is decided that they will tell the story of the creation in drama (cue for weary self referential theatre jokes) is lifted straight out of A Midsummer Night’s Dream but Shakespeare is, of course, better. Then comes an ending so weirdly abrupt that no one in the audience the night I saw it realised it had finished.

It’s a pity because at the heart of all this there is some good acting as competent people struggle to make something of a pretty unsatisfactory piece. Delroy Atkinson for example, whom I last saw in Present Laughter at Chichester, is strong as the blokeish, clumsy Adam and Gemma Oaten is convincing as Lucy in the second half when she morphs into a well-observed director of useless amateurs – a rather stylish take on Peter Quince.

 This review was first published by Sardines: http://www.sardinesmagazine.co.uk/reviews/review.php?REVIEW-Dance%20Attic%20Studios-Going%20Ape%20-%20%E2%98%85%E2%98%85&reviewsID=3339

We seem to be morphing into a box-ticking case study. Whenever an Alzheimer’s patient is “assessed” (like being back in the classroom) he or she and/or the carer is always asked about dressing, undressing and eating. Until recently the answer to such questions has always been “Fine. No problems.”

But things are changing. “Was the hope drunk wherein you dressed yourself?” I often find myself thinking although Lady Macbeth’s context was different. I don’t want My Loved One to commit regicide but it would be good if he could find and put on his socks.

For the first time ever, I packed his case as well as mine for our recent trip to the US. I knew there was no chance whatever of his working out what he needed, finding it and putting it in a suitcase. So I put socks, pants, shirts, trousers, night things and his washbag into his trusty black suitcase along with the vests, to which my now cold-blooded man has become inseparably attached irrespective of the temperature. I told him that it’s meant to be warm and sunny in late September Washington DC (and it was) but he wasn’t having it. He has travelled the world, incidentally, with that case so it’s a very familiar old friend. Mine is brown and we keep his things and mine separate-ish although sometimes it gets a bit fluid on the return journey when it’s just a question of getting everything in somewhere.

On the first morning in Washington, I emerged from the bathroom to find him naked, in a flap and rummaging in my case. “I think I’ve come away without any pants and socks” he said anxiously. “Nonsense, I packed them myself” I said getting them out of his case and passing them to him.” An incident like that makes me go chilly with horror – yet one more thing he can’t grasp. I can almost see his brain fogging up. For the rest of the time we were away I mostly had to supervise his choice of clothes and dressing.

And I have, come to think of it, been helping, with pullovers and coats for some time. Child-like he can’t seem to get his arms lined up with the sleeves.  Sometimes, moreover, I find myself offering advice about appropriateness too. “There’s a reception before this show. You might be more comfortable in a jacket” or “That pullover looks really tatty. Why don’t you wear this nicer, newer one instead?”

Back home, ever since we moved in September 2016, all his clothes have lived in the big fitted wardrobe we had put into the next door bedroom which he uses as a quasi dressing room. These days I often find him, puzzled, opening the doors of the wardrobes in the smaller bedroom we sleep in, where my clothes live, because, thanks to Ms Alzheimer’s, he can’t remember where his own are.

Then there’s eating. By his own admission – so it clearly worries him – he now struggles to use cutlery to get food to his mouth. Well, we comfortably abandoned rigid traditional British table manners in favour of common sense and convenience decades ago – all that silly business about eating everything with a knife and fork and never turning the latter that we grew up with, for example.  If we’re eating, say, curry, casserole or risotto we lay a spoon and fork. If it’s roast potatoes and some cut-able vegetarian nut thing or if we’re having something like omelettes we use knives and forks as our parents would have done. Sometimes (for instance for a pasta dish with a side salad) we lay both. There’s nothing remotely “tricky” or formal about eating in our house so it’s a bit tragic to see MLO struggling. The food seems to fall off the spoon or fork and he gets bitterly frustrated. I think it must be a co-ordination problem which prevents him loading spoon of fork securely and then keeping it horizontal. I’ve offered to cut his food up and suggested that he stick to a spoon perhaps with a shallow dish rather than a flat plate but, he’s understandably not keen on being served up food as if he were a toddler. One more nail in the coffin of normality.

Did you ever read Martin Amis’s 1991 novel Time’s Arrow? It’s mainly a holocaust story but the central conceit is that the main character is whizzing through his life in reverse so that eventually he gets reabsorbed into the womb. Well of course, this is real life and that’s not going to happen to MLO but I can certainly see him moving inexorably back towards what Shakespeare called “second childishness”. Our youngest granddaughter, approaching her fourth birthday, is now probably better – and improving all the time – at dressing and eating. Any day now they’ll  shoot pass each other like vehicles heading in opposite directions on a long road.

Lago Theatre Company is a fine example of how theatrical entrepreneurialism – aka “making your own work” – can work, and work well for new or newish graduate actors. Rob Hadden, Jack West, Joshua Glenister and Peter Lofsgaard, trained together at LIPA. Drama School is where you start to build the contacts network which will sustain your career and these four got together and started Lago Theatre Company, named after the Liverpool pub in which some of their early ideas were hatched.

I first encountered them in No Help Sent at Tristan Bates theatre a year or two ago. Since then I’ve seen and enjoyed Wine and attended a rehearsed reading of Revelation 1:18. Now the three plays, all written by West, are just completing a short rep season at Tristan Bates where I saw and reviewed them admiringly on a single evening last month. The other three founders appear in some of the plays (and do other work elsewhere as and when, obviously) with Harriet  Clarke who trained with them at LIPA playing the only female role. They also work with other directors and bring in additional actors as needed. Revelation 1:18, which West directs, has been shortlisted for an Offie which I’m delighted about because it’s a good play and I approve passionately of the way in which it has been developed by this young company.

The training industry has changed a lot in recent years. Today, all drama schools worth their salt teach their students to be proactive rather than passively (despairingly?) waiting for the phone to ring with job offers and LIPA does this particularly well. So committed is the college to encouraging students, graduands and graduates to form companies and create shows that it will sometimes  support such projects with grants. And, starting this autumn, LIPA has a new MA which focuses entirely on helping students to take charge of their own careers by preparing original work for touring. MA Acting (Company) runs in association with Liverpool Everyman and Playhouse.

Meanwhile I shall continue to follow Lago and all who sail therein because they really are a rather good case study and I’m intrigued to see what they do next.

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One of the hardest things about life with Ms Alzheimer’s, as she slowly but ruthlessly tightens her grip, is recognising and accepting the devastating truth about where you’re heading. And holidays are a particularly difficult time because, sadly and stressfully, they force you to confront that reality. It’s partly, I think, because if I’m not racing about working manically, I have time to think and reflect. It’s also because it’s impossible not to compare the current holiday with earlier remembered ones.

Not so many years ago My Loved One could drive a powerful hire car on confusing (to me, at any rate) eight lane motorways in the US. Today he cannot descend a flight of steps unaided. In the recent past he would have booked flights, accommodation, ordered currency and arranged insurance. He doesn’t have a clue about any of that now and all the admin falls to me. Until two years or so ago, on holiday, we’d spend whole days out and about seeing or doing several things each day. The new MLO can sometimes manage an hour or two before he flags, but not always.

We’ve just spent eight nights on holiday in Washington DC. By the time this is posted we shall be home although I’m writing it on our last day in the US. Why Washington? Well, we both had fond memories of visiting Georgetown on a trip a few years ago when we then picked up a hire car and headed south to Baltimore, Maryland and on to Virginia and MLO had said several times he’d like to revisit. So I fixed it. I had misgivings, of course, but I carefully ignored them.

I booked special assistance at the airports and it worked very well –  a new experience for us. Of course he doesn’t normally need a wheelchair but unsteadiness and inability to stand in, for example, queues for more than a minute or two meant that it was really useful. It also meant I had a helper to look after him while I dealt with hand luggage etc – I only have two hands and two arms, after all.

Once airborne there was continual confusion about where we were going and why. Halfway across the Atlantic on the outward journey, he thought we were heading for Heathrow, for example. I must have reminded him a dozen times that we were going to Washington. I think cabin pressure or altitude (or something) worsens the effects of Alzheimer’s. I noticed this twice last year when we flew to and from Malaysia and Greece.

Making decent use of the time while away is another problem because I have to deal with his often feeling unwell and not wanting to do anything. It’s easy to delude oneself that this is apathy or lethargy but it’s really just the illness. Fortunately I’d booked one of those American “suites” which gives you a sitting/kitchen area attached to the bedroom so “staying in” was reasonably comfortable. And sometimes I left him resting and went out on my own – bliss to be able to stride along at my own natural speed and be temporarily “free” although I’m ashamed of the thought.

We did, however, manage to take in Arlington Cemetery, Smithsonian Museum of American History, Dumbarton Oaks and Oak Hill Cemetery as well as exploring Georgetown pretty thoroughly. We also walked through the White House and Lincoln Memorial area and on the last day went to Newseum, a powerful and moving history of news/journalism which seemed to have my name firmly on it. At each of these, though, time had to be limited and I had to make sure that MLO could sit down as often as possible. The jury is out, though, on whether we really got value for money overall in terms of sightseeing.

I was hoping I’d get a rest and I suppose I did to an extent. It’s not very relaxing, though, to have to be alert for problems all the time and to assume full responsibility for another person. It often reminds me of having a small child again (I even now have to oversee choice of clothes, collect his buffet breakfast and open the butter packets etc for him) especially during the night. I’ve learned to snap awake instantly if I hear him stumbling about doing anything other than just going to and from the bathroom. He has very powerful Alzheimer’s-driven dreams and often gets very confused. It means I have to be able to reassure him calmly irrespective of how deeply asleep I might have been. As a young parent I did this and more, of course but it was … well never mind how long ago but I was a little shorter in the tooth then.

The problem with holidays is that they are, by definition, a break with routine and that’s not good for someone with Alzheimer’s so I’m left wondering what, if anything, to do about holidays in future. Maybe a cottage somewhere not too far away that I can drive to and then recreate home routines within it while we get a change of scenery? In all honesty I think Washington was almost certainly our last long haul holiday. Pity really, I love travelling far afield, especially in the US, and I’d dearly like to see my friend in Australia again. Trouble is that Ms A has her hideous fangs buried in her husband too so it looks as if neither of us can travel.

So the chances are that I shan’t get to see the orangutans in Indonesia or the Taj Mahal after all. Not that I can possibly complain. We’ve travelled a lot in the last 15 years or so and I’m lucky enough to have seen wild bears in Canada, rhinos in S Africa, aligators in Louisiana and, marvellously, a platypus in Tasmania. There have been many other wonders too, both natural and man-made, from the Petronas Towers to Table Mountain and Sydney Opera House to the Grand Canyon.

It’s just very hard indeed to accept that the best is probably behind you.

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 So that journalistically useful wo/man from Mars arrives in Britain in 2018 and decides to go to theatre but needs a few tips. Here’s the deal:

1.If your seats are in the middle of a row it’s obligatory to come in last. Wait until everyone else is comfortably sat down and arrive a few seconds before the show is due to start.

2.“Theatre” is really another word in modern English for “picnic area” so make sure you have plenty of food with you. Sandwiches, chocolates – or even a takeaway meal if you haven’t had time to eat first. The custom is for theatre food to be as noisy and smelly as possible so packets of rustly crisps are perfect.

3.You also need a drink in a plastic glass so that you can ritualistically slop some of it over your neighbours’ feet as you squeeze along the row to your seat. It’s all part of the experience. Red wine is the perfect choice because white trousers are fashionable at present and you should be able to make your mark without too much difficulty.

4.Ignore all those  instructions to turn off your mobile phone. They don’t mean it – it’s just part of the imaginary world of the show. You need your phone on so that you can flash it on and off during the action. Actors get very disappointed if they can’t see switched on phones across the auditorium.

5.And while you’ve got the phone handy make sure you take lots of photographs and videos. Of course it’s a myth that it’s illegal. You want plenty of selfies, shots of the action and so on to show your mates afterwards – or better still to send them immediately. It’s more fun than watching what’s on stage.  Theatre is for sharing. It isn’t as though anyone is earning their living by it, after all.

6.The purpose of the overture, or any sort of musical introduction, is to cover the chat you will want to have with your neighbour. You’re not supposed actually to listen to those hardworking musicians so make sure you have a really good natter.

7.At the end of the performance, irrespective of how good (or not) it really was you must leap immediately to your feet and clap, shout, whistle and yelp as loudly as you can. This is especially important if the ending of the show has been quiet, thoughtful or tragic.

Readers of these blogs, who don’t know me in person, often kindly tell me what a patient, kind and loving person I am. Well I suppose I’ve created an online persona – if only I could live up to it. The stark truth is that, most of the time, I’m a brusque, crosspatch sort of individual. And I don’t, on the whole, “do” slowly and never have done.  I was absent when “sweetness and lightness” were given out – racing about trying to get some job done, I expect. Former pupils, with retrospective affection, have often said that I scared them silly. I never meant to but there it is …

When I was a child tiresome grown-ups would intone preachily at me: “Patience is a virtue which can be acquired”. (It was the 1950s, not the 1850s by the way).  Well they were all wrong – about me anyway – because I’ve never acquired it. And that’s one of the main reasons that I find Ms Alzheimer’s such a very difficult presence. As My Loved One gets slower and less comprehending I get crosser and more impatient – as if we were the painted couple in the weather forecast ornament my grandparents had: always moving in opposite directions. Then, of course, I feel terrible and beat myself up for my own shortcomings. He can’t help the state he’s in. And I know that so I ought to be able to control my irritation.

One of the hardest things, for an impatient person like me, is MLO’s habit (and it’s only come with the illness) of constantly interfering with things. I load the dishwasher and set it running, for example, only to find that he’s opened the door half an hour later and interrupted the programme because he wasn’t sure “what was going on”. He’s constantly fiddles with the day’s newspapers too often throwing into the (wrong, invariably) bin the bits he doesn’t want to read before I’ve had a chance to look at them. Worst of all is his “hiding” things. He thinks he’s put away, say, the outdoor short-handled brush (currently missing), the tin opener or (twice in the last few months) a quite large and important cheque. He then can’t remember where he put it and I of course have no idea so the item is effectively lost. I can buy a new brush or tin opener but getting a cheque re-issued is a tedious business.

Then there’s his inability to hold information even for a few seconds. “What can I do to help?” he’ll ask. “Can you empty the airing cupboard? Just take everything upstairs, put in on our bed and I’ll sort it from there.” I answer. Ten minutes later I find him scrabbling about in a food cupboard: “You wanted me to do something in a cupboard …?” Grrr.

We have, and have had for decades, a large folding table known as “The Gopak”. Think school dinners. We use it as a supplementary dining table when we have a crowd and it lives, folded in the space between the fridge freezer and the wall. The ironing board sits neatly on the other side of the fridge freezer – two useful storage gaps. MLO recently decided that he would iron a shirt. Quite unusual for him now but OK if that’s what he wanted to do. Then he came upstairs to tell me he’d done something silly and was in a muddle. I went down to find the kitchen almost filled with the 10-seater Gopak. Well, when your brain is functioning normally it’s pretty difficult to get your head round someone who can no longer tell the difference between a camping table and an ironing board. I try but …

Standing at our local station awaiting a Blackfriars train en route to a concert at Cadogan Hall last week we narrowly missed a through train to Luton while I was, as usual, laboriously helping him down the steps on the footbridge.  I said chattily. “It’s OK, that train’s going all the way to Luton, Our train will we here in five minutes”  A few moments later I asked him: “Do you remember where we’re going?” Pause for a long think. Then, brightly: “Are we going to Luton?”. Oh for a bit of that saintly patience which has eluded me all my life.

By the time you read this MLO and I will enjoying (or something) ten day holiday in Georgetown, Washington DC while our elder son (now he really IS saintly – not sure where he got if from) moves in to look after house, cat and supervise the repainting of our kitchen and dining room. I have misgivings but MLO has long wanted to revisit Georgetown. Carpe diem. Time is not on our side. I’ll report on how it all works out next time. Perhaps the rest (if that’s what it turns out to be) will help me to be a bit calmer and less cross.