A Midsummer Night's Dream - Shakespeare's Globe

A new Globe season. The start of the summer. (Only a little rain). And a new artistic director – with A Midsummer Night’s Dream the first production under Emma Rice’s leadership, and also the first production directed by her at the Globe.

She’s come from Kneehigh, and there were some familiar Kneehigh faces in this – particularly Puck (Katy Owen), who was very funny as the young servant Robert in Kneehigh’s wonderful Rebecca last year. She’s equally funny as Puck in this – mischievous, naughty, dangerous and fun, playing gleefully with both the actors and the audience. And Bottom (Ewan Wardrop) was another familiar face from Kneehigh who became an instant Globe favourite.

There were also echoes of Kneehigh’s style in the music, dancing, aerial work, and general air of irreverence in this A Midsummer Night’s Dream. Special mention to the Changeling puppet, which was quite beautiful too.

I can see what this production is intended to be – a riot of fun and colour and wildness. I’m thinking something like a Baz Luhrmann film live, on stage, in the Globe space. But it needed to be pacier to really achieve that wildness. I dare say the pace will pick up as the run goes on.

What worked particularly well were the scenes with the lovers. I really like the male Helena – ‘Helenus’ – the gender switch brought something new to the dynamic. And all four lovers had great chemistry and comic timing. They were recognisably of our world and our time (the Hoxton hipster references went down well, and I enjoyed the Beyoncé dance).

In fact, all the dancing was fabulous – from the fairies’ slightly terrifying moves right through to the joyous Bollywood-inspired jig at the end.

But am I allowed one quibble, as someone who goes to the Globe a fair bit? I know I probably sound like a bore, but I found the amplification of the actors’ speaking voices quite disconcerting. I didn’t mind it for the music, but for the dialogue it seemed unnecessary and took away from the intimacy of the Globe space. When you’re standing in the yard, sometimes actors talk directly to you - or sometimes someone tall is standing in front of you and you can’t see who’s talking, so you rely on your ears to tell you where to crane to look. When their voices are coming from somewhere other than their bodies, neither of those things work.

In a production that was otherwise really proudly physical – with some imaginative and brilliant movement – it seemed strange that the voice was treated as separate from that physicality. The voice is part of the body too.

But hey, that’s a minor quibble. It’s exciting to see new things at the Globe. New ideas, new approaches, new faces. And I really enjoyed A Midsummer Night’s Dream (which I saw at the matinée on 21^st May 2016). It was naughty, irreverent, imaginative and fun, and – most importantly for a comedy – it was funny.

I’m looking forward to the rest of the season!

The Importance of Being Earnest - The Pantaloons

I always enjoy a Pantaloons show. I like their style – madcap, physical, and often slightly anarchic but not without depth and substance.

The Importance of Being Earnest is not an obvious choice of play for them – it has little depth and doesn’t lend itself easily to anarchy. But that didn’t stop the Pantaloons bringing their customary verve and vigour to it at the Underground Theatre on 7^th May 2016. With added songs, audience participation, and numerous un-Wildean interjections, they unashamedly turned the piece into a proper Pantaloons show.

Wilde purists may have been taken aback by the way the physical became just as integral to the humour as the words. Lady Bracknell (Kelly Griffiths), Doctor Chasuble (Neil Jennings), and Miss Prism (Alex Rivers), in particular, became much funnier through their physical characterisation than I have often seen them portrayed.

But a Pantaloons show is no place for purists. As they say in their programme notes, the company aims to “wrench these works from the closed world of theatrical and educational institutions and return them to the breathing, bustling world of the outdoors, telling contemporary stories in a contemporary way to contemporary audiences.”

So if you’re attracted by the title and only want to see a traditional production of The Importance of Being Earnest, then, I’ll be honest, this may not be entirely for you. But if, on the other hand, you’re ambivalent about the title because you think it’ll be the same old thing, then I’d urge you to give the Pantaloons a go. You’ll enjoy it more than you think, and it definitely won’t just be the same old thing.

And that goes for Earnest, their Shakespeares, and any of their other productions too. So if you’ve missed Earnest (it's on tour until 14th May), the Pantaloons are on tour with three productions over the summer months. Take a look at their website for details of Gulliver’s Travels, The Canterbury Tales, and Romeo and Juliet.

Nell Gwynn - Shakespeare's Globe

What a fab end to my Globe-going season this year! Nell Gwynn (which I saw at Shakespeare’s Globe on 11/10/15) is funny, bawdy, energetic, and fun, with a luminous star turn from Gugu Mbatha-Raw in the title role.

This is another Globe play about women and theatre (see also The Heresy of Love) – but Nell Gwynn has a much lighter touch, making serious points by making you laugh. The conversation about why Lady Godiva is famous being a case in point.

While based on real people from 17^th century London, the play is not afraid of including a few anachronisms and of speaking to the modern Globe audience through references to our own culture. For instance, Dryden describes the plot of Titanic when trying out ideas for plays – and King Charles’ resounding “Down with austerity!” got a big cheer from the audience.

Like most of my favourite Globe productions, Nell Gwynn does not go for all-out naturalism. During the performance, the ‘fourth wall’ was regularly broken – with Nell’s mother even taking beer from the audience at one point – and this created an atmosphere of inclusivity and spontaneity that made the whole afternoon great fun.

Probably the best thing I saw at the Globe this season.

Treasure Island - The Pantaloons

Huge amounts of energy. Huge amounts of silliness. Huge amounts of fun.

This incredibly fast-paced production of Treasure Island by The Pantaloons (which I saw in Eastbourne on 25^th July 2015) sees just three actors play all the characters. There follows an entertaining variety of madcap characterisations and questionable regional accents. And audience interaction, singing, drumming, ad libbing, and so much packed in you wonder that the cast don’t just collapse in a heap at the end!

I really enjoyed it. So did the kids in the audience around me. They were completely rapt throughout.

In a lot of ways, watching The Pantaloons’ Treasure Island is like watching kids playing at being pirates. The plastic swords, the parrot puppet, the hand gestures to show imaginary spurts of blood when injured. And all played with such gusto and exuberance.

I particularly enjoyed the sword fights (hey, I’m a big kid), and the hip hop medley as Jim ‘drives’ the ship.

I have to confess there were times when I didn’t entirely follow what was going on plot-wise – but it didn’t bother me in the slightest. I was having too much fun.

I’ve read the original book of Treasure Island (I’m afraid it hasn’t stuck in my head much), and I’ve seen the Muppets’ version on film (which has stuck in my head much more). The Pantaloons’ version rivals the Muppets’ for zaniness and probably surpasses both versions in terms of pace.

Really, the huge amount of energy on stage was something to behold.


The Pantaloons are on tour with Treasure Island until 30^th August 2015. See their website for full tour details.

They will be returning to Eastbourne’s Under Ground Theatre on 11^th August with Much Ado About Nothing. After their Treasure Island and Pride and Prejudice, I’m looking forward to seeing what else they’ve got up their sleeves.

Pride and Prejudice - The Pantaloons

Pride and Prejudice is one of those texts that everyone thinks they know all about – whether or not they’ve read Austen’s book. It’s a romance. About well-to-do people with excessively polite manners. And Colin Firth emerging dripping from a lake.

The Pantaloons, of course, excel at playing with these kinds of widely-known texts. They take what everyone thinks they know, lightly mock those expectations, draw out the humour of the original (many of the lines in this adaptation are taken word for word from the book), and they present their own Pantaloonish take.

They started the evening at the Underground Theatre by asking the audience who’d read the book (almost everyone said they had) – and then by asking who’d said that they’d read the book but had actually just seen an adaptation (a few honest souls said yes). They told us on more than one occasion that the famous lake scene was neither in the book nor in their adaptation. And throughout they slipped constantly and seamlessly between 18^th century and 21^st century dialogue, bringing the characters to life and interacting with the audience. This is what I mean by ‘their own Pantaloonish take’: they don’t just act the story out in front of you, they step out of it, bring you into it, have fun with it, and make you engage with it.

The focus of The Pantaloons’ Pride and Prejudice is probably more on the comedy than on the romance. There are certainly some particularly memorable characterisations, what with Lady Catherine’s roar, her daughter’s cough, Mary’s leadenness, and a Mr Collins who wouldn’t be out of place in an episode of Green Wing.

But the scenes that are played more or less straight – such as Lizzy and Darcy’s argument after his first proposal – are absolutely electric. And the moment when Wickham is all that Lizzy can think about is both amusing and evocative too.

The music, as always in a Pantaloons show, plays an important part in creating an atmosphere. But in this production, they make the most of not having a piano in one particular scene, as a cast member becomes the piano (and is then ‘played’ by other cast members). Indeed, an impromptu piano-based pun competition set off by an audience member threatened to derail the scene at one point – but they swiftly got back on track and it served to showcase both the quick wit of the cast and their skill in dealing with and incorporating unexpected distractions.

Aside from one or two rather vocal audience members, it was a quieter audience than usual when I saw Pride and Prejudice (Sunday 14^th June 2015). But the cast worked hard to create the same inclusive, energetic atmosphere as always, and – though quiet – everyone there left with a smile on their face.

So if you think you already know all about Pride and Prejudice and what to expect – this’ll be different from the adaptations you’ve seen before. You might not get Colin Firth, but you will have a gloriously entertaining evening.


The Pantaloons are on tour with Pride and Prejudice throughout the summer – see their website www.thepantaloons.co.uk for full tour details.

Rebecca - Kneehigh

I’ve not read the novel or seen any other adaptations of it, so I was coming to Rebecca fresh. But regardless of my knowledge of the book, it’s clear that Kneehigh’s stage production of Rebecca is a very inventive adaptation.

As soon as you see the set, you know you’re in for something special. Part grand house in ruins; part seashore; broken staircases running across the stage. And the boat looming centre-stage throughout the first half, reminding us always that Rebecca’s absence is a very real presence in the house.

If any of the audience at Eastbourne’s Devonshire Park Theatre (15^th April 2015) was expecting a straight adaptation, with ‘realistic’ sets and the usual period drama tropes, they would have been taken by surprise by Kneehigh’s Rebecca.

This is a much more stylised adaptation. Set, sound, lighting, puppetry and music all combine to tell the tale and draw out the themes. Such as the combination of jazz music on a gramophone and sea shanties being played by the actor-musicians: the clash of the sophisticated and the elemental.

Obviously if you’ve seen Kneehigh before, or know them by reputation, then you know that they’re nothing if not inventive. Rebecca features their trademark music, comedy and playfulness and ties these up in a full on, dark, ambitious production.

I remember seeing Baz Luhrmann’s Moulin Rouge in the cinema when it came out, and having to take a moment at the end just to recover from the force of the visual and aural whirlwind that had just swept around me.

I felt a bit like that at the end of Rebecca.

Very much worth seeing.

Peter Pan Goes Wrong - Mischief Theatre

Laughter is a funny thing. (Pun intended). I can spend all day laughing at little things – but go into a theatre to watch something that’s designed to make people laugh and my laughter becomes something different. Suddenly it’s a reward I can choose to bestow or not. It’s an effort. It’s something that has to be cajoled out of me.

Or at least, that’s how it felt while watching Mischief Theatre’s Peter Pan Goes Wrong at the Devonshire Park Theatre, Eastbourne, on 24^th March 2015.

People around me were in hysterics. I found some bits quite amusing. I suppose it’s all personal taste.

This play comes from the same people as The Play that Goes Wrong, which by all accounts is very funny indeed. So I went into Peter Pan Goes Wrong ready and expecting to be entertained.

The conceit of the play is that a small amateur dramatics society is putting on a Christmas production of Peter Pan. For me – while they squeezed the mileage out of the am dram bit – they could have made more of the Peter Pan bit.

The original Peter Pan (without anything going wrong) is a playful, mischievous text. It’s full of knowing winks to the audience and doesn’t shy away from the fact that it creates an imaginary world where fantastical, ridiculous things happen. I can’t help but feel that if Mischief Theatre could have found a way to tease this out in Peter Pan Goes Wrong then they would have had a much funnier play on their hands.

But they weren’t really interested in Peter Pan. Their main focus was the am dram aspect of it all, which they played well. They were completely committed to the world they created for the amateur theatre company.

The programme on sale had biographies for the characters within the play who were the cast of Peter Pan. There were fake adverts in the programme which related to the world of the play. In the interval, Christmas music was played – as Peter Pan was supposed to be the amateur company’s Christmas production.

We, the audience, were very much cast as the audience at the amateur company’s performance. When the cast addressed us as the audience, they were in character as the amateur actors addressing their own local audience. They played it straight in this respect.

There was no suggestion of the third layer – that we were an audience at the Devonshire Park Theatre watching a professional company pretending to be amateurs. There was no knowing wink to the audience, nor any acknowledgement that they were creating an imaginary world where ridiculous things happen.

Any why should there be? Judging by the laughter around me, this wasn’t a problem for most of the audience. But I found it a tricky position to be in. I was being asked to suspend my disbelief – and yet I was also being asked to laugh. If I really did buy into the world of the play, then the evening was not funny but painful. Lord knows I’ve seen enough not-very-good amateur productions in my time.

Despite these reservations, there were moments that made me laugh out loud. And there were moments that I recognised with amusement from real productions I’d seen. I just felt that it could have been much funnier if only Mischief Theatre’s writing and direction had been a little more mischievous.