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NEWS: Daniel Evans announces star-studded inaugural Chichester season

In Festivals, Musicals, Native, News, Plays, Press Releases, Quotes, Regional theatre, Sticky by Press ReleasesLeave a Comment

Daniel Evans and Rachel Tackley announce Chichester Festival Theatre’s 2017 summer festival season – the first under their leadership as Artistic Director and Executive Director. Highlights include: Chichester’s Festival 2017 embraces classic and contemporary plays and musicals, with headline actors including Sharon D. Clarke, Omid Djalili, Marcia Gay Harden, Ian McKellen, Tracy-Ann Oberman, Brian J. Smith and Richard Wilson New …

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NEWS: David Horovitch reprises his role as Handel in All the Angels at Globe

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Shakespeare’s Globe has announced casting for All the Angels – Handel and the First Messiah, written by Nick Drake and directed by Jonathan Munby. The production runs in the Globe’s indoor Sam Wanamaker Playhouse from 6 December 2016 to Sunday 12 February 2017, with a press night on 8 December.

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NEWS: Kneehigh comes to the Globe in Emma Rice’s first season

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Shakespeare’s Globe is delighted to announce Emma Rice’s inaugural season as Artistic Director. The 2016 Wonder Season will open with A Midsummer Night’s Dream on Saturday 30 April, followed by The Taming of the Shrew, Macbeth, 946 The Amazing Story of Adolphus Tips and Imogen. Jonathan Munby’s The Merchant of Venice, starring Jonathan Pryce, will open at the Liverpool Playhouse, …

ALL THE ANGELS – Sam Wanamaker Playhouse

In London theatre, Plays, Reviews by Libby PurvesLeave a Comment

Handel’s Messiah is a phenomenon: written in three weeks in the composer’s most disappointed phase, to this day it plays as sublimely as a chamber piece with eight singers as with the four thousand of us who annually sing it at the Royal Albert Hall in The Really Big Chorus (I operate as a semi-competent alto). It gets treated with high professionalism or as a parish singalong, truncated at the Alleluia Chorus or recorded as a “best-of” with some of the most beautiful moments missing, is done with heavy Victorian pomposity or bright original instruments, speeded up and slowed down. Nothing dents its shine.

THE MERCHANT OF VENICE – Shakespeare’s Globe

In London theatre, Plays, Reviews by Matt MerrittLeave a Comment

You could be forgiven, if you didn’t know The Merchant of Venice well, for believing it to be a tragedy and more so for thinking Shylock is one of Shakespeare’s most caricature villains. Thankfully, Jonathan Munby directs with flair, amping up the comedy without losing even a hint of pathos in what may already be the highlight of Shakespeare’s Globe’s summer season.

THE MERCHANT OF VENICE – Shakespeare’s Globe

In London theatre, Plays, Reviews by Jonathan BazLeave a Comment

Shakespeare’s Globe, London
*****
Written by William ShakespeareDirected by Jonathan Munby

Phoebe Pryce and Jonathan Pryce
Jonathan Munby’s production of The Merchant Of Venice at Shakespeare’s Globe is likely to prove a long remembered classic. The staging offers an interaction with the groundlings that defines the raison d’être of this remarkable venue and with some of the Bard’s finest verse bestowed upon both Shylock and Portia, Jonathan Pryce and Rachel Pickup respectively provide a masterclass in English poetry. 
It can be all too easy to forget that The Merchant Of Venice is one of Shakespeare’s comedies. Munby’s production however makes much wonderfully timed merriment, with Stefan Adegbola’s Launcelot Gobbo putting on a class act that is as much Vaudeville stand up as it is classic Elizabethan drama. Elsewhere, David Sturzaker’s drunken Gratiano and Dorothea Myer-Bennett as Nerissa make for excellent comic foils.
The design of both costume and stage is gorgeous. The dress is of the period, with the Venetian masked Carnevale a prominent theme. Designer Mike Britton’s Belmont is suggested magnificently by drapes of burnished gauze that billow in the Southwark breeze, cleverly catching the light and evoking a modest understatement to the wealth of Portia’s estate 
So much for the hilarity, there is heartbreak too – and in the most complex of parent-child dilemmas, Pryce wrestles with the demands of his Jewish faith as daughter Jessica spurns both father and tradition for her gentile lover, Ben Lamb’s Lorenzo. That Jessica is played by Pryce’s real life daughter Phoebe (who eschewing any whiff of nepotistic stunt-casting, more than earns her stripes) only adds to the moments of emotional devastation hurled at us. 
Much too is made of Bassanio’s bisexuality as Daniel Lapaine and Dominic Mafham’s Antonio the eponymous Merchant, make frequent references to their past love. Away from the comedy again, Munby spotlights Portia’s anguish as she comes to realise her new husband’s sexual history, making for another neat and credible shot of pain.
Throughout, Munby’s work is nothing short of visionary. His Princes of Morroco and Arragon (Scott Karim and Christopher Logan respectively) are stereotyped caricatures – indeed Karim’s Arabic creation could be straight out of Disney’s Aladdin. But Munby knows just when to ease off too. Whilst his Princes may be buffoons, there is no hint of grotesque Jewish caricature to Shylock, with the director letting the evil of the play’s prejudice speak for itself.
Whilst Shakespeare’s original English text is respected, Munby takes brave linguistic licence elsewhere. Shylock and Jessica converse in Yiddish behind closed doors, whilst a devastating epilogue sees the now proselytised Jewess lament in Hebrew, whilst her father is subject to the full baptismal onslaught of a Catholic Latin liturgy.
But the heartbeat of this production lies in its devastating depiction of racist hatred. Shylock speaks of having been and is, spat upon. The courtroom scene is imbued with a lynch-mob menace that bays for the Jew’s blood. Whilst his desire for murderous vengeance can never be condoned, this production more than most, speaks clearly of the lifetime of abuse that the old money-lender has endured.
In what is likely to prove one of the capital’s stand out Shakespeare plays of the year, Pryce’s performance dominates and devastates. We share the pain of his yelp as his skullcap is brutally removed, realising more than anything else that the prejudices of 17th century Venice were barely different from those of Hitler’s Berlin in the 1930s. And when we read today of the barbarity wreaked upon Iraq’s Yazidis and upon many of Africa’s Christian communities, we can only weep at Shakespeare’s timeless wisdom.

Runs until 7th June
Image by Manuel Harlan