Kneehigh and the Globe. They do suit each other rather well,
actually. Especially when it comes to a production like 946: The Amazing Story of Adolphus Tips (which I saw at the matinée
on 28th August 2016).
There’s something about the irreverence and exuberance of
Kneehigh that suits the Globe space. I think perhaps it’s the way we can all
see each other – audience, actors, musicians. The Globe has always encouraged a
sort of conversation between the stage and the yard, and Kneehigh certainly
live up to that in Adolphus Tips.
From remarking on the weather to getting the audience to
sing and dance along – even beyond the performance, to a Q&A session after
the show – the cast of Adolphus Tips
really welcomed the audience as a part of that afternoon’s story.
946: The Amazing Story
of Adolphus Tips is an adaptation of a Michael Morpurgo book. I’ve not read
the book (though I want to now), so I was coming to the story fresh. It’s a
tale of war and displacement – of loss and sadness mingled with joy and love.
There were big laughs and some wonderfully joyful song and dance numbers, but
there were also some profoundly moving moments, and the girl standing next to
me in the yard was sniffing away towards the end.
There are so many bits I want to mention. The puppetry. The
motorbike. The way the sea battle was depicted – it reminded me a little of that
wonderful Bristol Old Vic production of Swallows
and Amazons, but it was also hugely moving. The moment when the cast played
a tune by blowing across the tops of bottles. The touching scene when they all
played recorders. The morris dancing. And of course the entirely unscripted
moment when the heavens opened just as the vicar was lifting his hands to pray.
All of the cast in Adolphus
Tips were talented multi-instrumentalists as well as actors. They sang,
danced, swapped instruments, and operated puppets all with the same energy, and
you couldn’t help being swept along with it all. I couldn’t single anyone out
for praise – they were all brilliant.
And it was nice to see the cast onstage afterwards in an
unexpected (by me, at any rate) Q&A session along with Michael Morpurgo and
Emma Rice. It was a bit like the old Talking Theatre sessions at the Globe (do
they still do those?) but on a larger scale. Michael Morpurgo was very funny, and
it was interesting to hear Emma Rice and Mike Shepherd talk about Kneehigh and
the Globe.
I’ve seen Kneehigh perform at their Asylum down in Cornwall,
and – despite some obvious differences – there is something similar about the
Globe. I love the Globe – it’s one of my favourite spaces. It’s fun to see
Kneehigh here.
Monday, 29 August 2016
Sunday, 21 August 2016
Romeo and Juliet - The Pantaloons
Everybody knows Romeo
and Juliet. They’ve either studied it at school, or seen a film adaptation,
or maybe some people have even seen it in the theatre. Most people probably don’t
think of it as a funny play. But when you see the Pantaloons’ version (as I did
on 19th August 2016), you realise how much humour there is in Romeo and Juliet.
From the punning banter between Mercutio (Mark Hayward) and Romeo (Tim Phelps), to the affectionately teasing relationship between Juliet (Violet Patton-Ryder) and the Nurse (Caitlin Storey), the Pantaloons draw out and make the most of the comedy in the text.
And it’s great to see original Pantaloons Mark Hayward and Caitlin Storey back on the stage and flexing their acting and improvisation muscles again. The quick-wittedness and warmth of their interactions with the audience is a joy, and Caitlin Storey’s Nurse has the audience in the palm of her hand throughout (with or without the help of kitkats).
That’s not to say that the drama and tragedy are forgotten about in this production though. Romeo’s despair on hearing of Juliet’s ‘death’ was palpable, and I was particularly struck by Juliet’s speech before she drinks the potion that will make her appear to be dead, where she voices her fears about waking in the tomb. It’s not a speech that I’ve ever really registered before, but Violet Patton-Ryder’s delivery of it really made me feel the horror of what Juliet’s imagining.
The cast of just four in this Romeo and Juliet moved effortlessly between the drama and the comedy – and between the Shakespearean language and modern ad libs. I’ve written before about how the atmosphere changes at an outdoor show as darkness falls, and it was the same here. Romeo and Juliet does get darker as it goes on, and the fall of night only intensifies that.
I feel I must give a mention to the balcony scene. Previous Pantaloons productions of Romeo and Juliet have played on how well known certain lines are (“It’s the famous bit!”) – but in this version they take a fresh approach to the scene. I won’t spoil it for those of you who haven’t seen it yet, but I thought it balanced the humour and the romance of the scene nicely, subverting our expectations without diverting from the text.
And another special mention must go to the venue where I saw the play. St Mark’s College at Audley End had put together a Romeo and Juliet themed playlist for the incoming and the interval – Prokofiev, Des’ree, Dire Straits, Taylor Swift… I can’t imagine many venues put that much thought into setting the scene for a touring theatre company’s show. Nice touch.
The Pantaloons are on tour with Romeo and Juliet until 26th August 2016 and then will be touring an indoor version of the production later in the autumn. Full details are on their website. I’m sure the autumn cast will be equally brilliant, but it’s well worth catching the summer cast if you can!
From the punning banter between Mercutio (Mark Hayward) and Romeo (Tim Phelps), to the affectionately teasing relationship between Juliet (Violet Patton-Ryder) and the Nurse (Caitlin Storey), the Pantaloons draw out and make the most of the comedy in the text.
And it’s great to see original Pantaloons Mark Hayward and Caitlin Storey back on the stage and flexing their acting and improvisation muscles again. The quick-wittedness and warmth of their interactions with the audience is a joy, and Caitlin Storey’s Nurse has the audience in the palm of her hand throughout (with or without the help of kitkats).
That’s not to say that the drama and tragedy are forgotten about in this production though. Romeo’s despair on hearing of Juliet’s ‘death’ was palpable, and I was particularly struck by Juliet’s speech before she drinks the potion that will make her appear to be dead, where she voices her fears about waking in the tomb. It’s not a speech that I’ve ever really registered before, but Violet Patton-Ryder’s delivery of it really made me feel the horror of what Juliet’s imagining.
The cast of just four in this Romeo and Juliet moved effortlessly between the drama and the comedy – and between the Shakespearean language and modern ad libs. I’ve written before about how the atmosphere changes at an outdoor show as darkness falls, and it was the same here. Romeo and Juliet does get darker as it goes on, and the fall of night only intensifies that.
I feel I must give a mention to the balcony scene. Previous Pantaloons productions of Romeo and Juliet have played on how well known certain lines are (“It’s the famous bit!”) – but in this version they take a fresh approach to the scene. I won’t spoil it for those of you who haven’t seen it yet, but I thought it balanced the humour and the romance of the scene nicely, subverting our expectations without diverting from the text.
And another special mention must go to the venue where I saw the play. St Mark’s College at Audley End had put together a Romeo and Juliet themed playlist for the incoming and the interval – Prokofiev, Des’ree, Dire Straits, Taylor Swift… I can’t imagine many venues put that much thought into setting the scene for a touring theatre company’s show. Nice touch.
The Pantaloons are on tour with Romeo and Juliet until 26th August 2016 and then will be touring an indoor version of the production later in the autumn. Full details are on their website. I’m sure the autumn cast will be equally brilliant, but it’s well worth catching the summer cast if you can!
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