Hamlet, Harold Pinter Theatre, London,

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Hamlet is a play that has been done so many times in London over the last few years, it seems to be the role that every major star wants to do, to prove their worth. Well, this version, directed by Robert Icke and starring Andrew Scott is, without doubt, the best of them.  The direction is wonderful, it makes the play feel current and relevant to today. I love the use of technology; the ramparts on video cameras, the war coverage on a 24hour news station,  the paparazzi at the wedding.

Andrew Scott is a fantastic Hamlet, hurt, sarcastic and sardonic, he speaks every line as though he is having difficulty putting the depth of his feelings into words. The words are 17th century but his delivery of them is 21st century psychoanalytical. The modern setting brings out humour, in his lines, that was previously hidden and it makes his cruelty towards Ophelia and his mother, all the more harsh.

Derbhle Crotty plays Gertrude, as a worried caring mother, a bit frivolous and taken in by the attentions of her late husbands brother. I liked the chime in accent between her and Hamlet, it emphasised their bond and highlighted his reason for feeling betrayed by her.  Angus Wright is wonderful as Claudius. In this production he is a modern Machiavelli, concerned with approval ratings and how the public would feel if he prosecuted Hamlet for the death of Polonius. He is the ultimate politician king, bland and reasonable while plotting death. It makes one realise how little politics has changed through the centuries.

Peter Wight is great as Polonius, usually played for laughs, but here he is a family man, desperately trying to enhance the lives of his children by means of his diplomacy. The affection between Laertes, Polonius and Ophelia is underlined in this production, and the sense of loss is deeper because of it. David Icke is not afraid to take risks, I am not sure about the Bob Dylan songs, bringing 1960s music into such an up to the minute setting jarred a little, but Rosencrantz and Guildenstern work very well as a romantically involved couple and why wouldn’t one of them be female. I am looking forward to the Tom Stoppard update.

The finale is deliberate, each character allowed their own time. Horatio is solicited to tell the tale, but it has all been recorded on video, so it will be available for the news channels to package and present, from all points of view, for years to come….

This is a fantastic production, it has a month left to play, London theatre at its very best.

Much Ado About Nothing, Theatre Royal Haymarket, London

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Much Ado About Nothing is probably Shakespeare’s wittiest and lightest play. The banter between Beatrice and Benedick is both quick and sharp. This is The Royal Shakespeare Company’s production, originally produced for the 2014 Chichester Festival, transferred to the Royal Haymarket Theatre in London.

This dramatization adds a costume drama aspect to the play by placing it at the end of the first world war. It also emphasises the physical comedy of the show, which is very current in the west end, and at least three scenes are bordering on slapstick. The eavesdropping and stage whisper scenes work particularly well.

All the elements blend together effectively, resulting in a good mix of comedy and drama. The staging is busy and lively and there are a good number of laugh out loud moments.

It can be difficult to add freshness to one of Shakespeare’s most performed plays,  Christopher Luscombe and the RSC have succeeded very well. They have put the emphasis on enjoyment, and there is so much going on here, that you feel you hardly have time to take breath before the next vibrant scene is upon you. The finale/encore dance number was also an unusual and unexpected highlight.

This is a very satisfying addition to the West End theatre and it will be a significant loss when the season ends.

 

The Donkey Show, Proud Camden, London 2016

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In this version of A Midsummer Night’s Dream, the forest outside Athens has become a 1970s disco. Oberon, the king of the fairies, is the nightclub owner, Titania is his main squeeze and the fairies are a troop of Muscle Mary disco dancers strutting their stuff on raised plinths and around poles.

Puck is a roller-skating drag queen narrator and the 4 star crossed lovers are punters in various states of alcohol and drug fuelled confusion. I was amazed at how well the setting fitted the original play.

All of them sing their parts (no lip synching here) to classic 1970s disco tunes while interacting with the audience and getting increasingly out of it as the night goes on.

It’s camp, it’s brash, it’s rude and crude, its funny and it is great fun. London needs a camp, frothy, boisterous night out as a tourist attraction and this could be it!  After all,  “Beach Blanket Babylon” has run in San Francisco for over 40 years now and is still going strong.

Leave your inhibitions at the door and be prepared to party.

This is the best rowdy, rollicking night out in London this summer!