|
|
|
|
|
|
Stars explained: * A production of no real merit
with failings in all areas. ** A production showing evidence of not
enough time or effort, or even talent, and which never breathes any real
life into the piece – or a show lumbered with a terrible script. *** A
good enjoyable show which might have some small flaws but has largely
achieved what it set out to do.**** An excellent show which shows a
great deal of work and stage craft with no noticeable or major
flaws.***** A four star show which has found that extra bit of magic
which lifts theatre to another plane. |
|
|
A telling tale of our times
The Merchant of Venice
The Nonentities
The Rose Theatre, Kidderminster
**** IT’S a rare thing in amateur theatre to
clearly see the work of a director on the stage, but with The
Nonentities current production of The Merchant of Venice it’s clear that
director Jen Eglinton has worked hard to shape this very talented group
of actors and this racially complex play into a fresh, inventive and
understandable production. The shifts in our own sensitivities and the wider
political climate make the Bard’s jibes at Europeans and the
stereotypical view of Jews even more uncomfortable to hear but no one
holds back in giving the play the weight it was originally intended to
have. Heading up the younger side of the cast was Andy
Bingham as Bassanio who showed a maturity in his role in understanding
the dilemma of his friend Antonio when accepting finances for his
romantic travels. Tori Wakeman as Portia and Katy Ball as Nerissa both
were clearly no strangers to Shakespeare and their delivery of their
lines was clear, managing complex passages with ease. Simon
Hawkins was excellent too in his energetic supporting role of
Gratiano. Joe Harper created something of a show
The side story of Jessica and Lorenzo was brought
to life nicely by Faye Stanton and Alex Powell and together they had one
of the best romantic moments when supported by some effective music and
lighting ended their scene sitting in front of an active water fountain.
In fact the stage was most impressive with a series of Italian arches
creating an effective backdrop for all of the scenes.
Colin Young played the controversial role of Shylock and although his take lacked a little passion about his persecution by the Christians he handled the role well. Bob Graham as Antonio rose to the challenge of the changing mind-set of his character, angrily despising his need of a loan from Shylock yet resolute in his possible fate. There were good supporting roles too from Pat Gale and Alex Forty. The integration of mobile phones and mobile text
technology worked well shifting some parts of the text to seem as if
they had been sent via mobile phone. Likewise the transition of modern
dress in the start turning to traditional costume at the ball all seemed
perfectly normal as if it were just fancy dress. Making sense of any Shakespeare play is the
starting point of its success and beside the text the entire cast showed
they fully understood each scene with even non-speaking performers
adding greatly to the mood of the scene. It can be imagined that as world politics
continue to rightly strengthen the understanding and integration of
different faiths that the Merchant of Venice might become a little too
harsh for some to bear. The same change in our social climate might also
adversely affect how the play is directed either with a softening of the
themes or its balance .The Nonentities production certainly suffers a
little from that but none the less is a well-rounded, inventive and
fluently performed production. To 28-02-15 Jeff Grant
24-02-15 |
|
|
|
stealing
performance as the Prince of Aragon which was a cross between Manuel
from Fawtly Towers and Bruno Tonioli.