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Posts Tagged ‘Philida Lloyd’

After the Donmar’s second all-female prison set Shakespeare, Henry IV, I suggested it might not be wise to do a third (https://garethjames.wordpress.com/2014/10/09/henry-iv-at-the-donmar-warehouse). Well, here’s the third, this time off-site in a purpose-built pop-up theatre in Kings Cross, in rep with revivals of Henry IV and the first in the trilogy, Julius Caesar (https://garethjames.wordpress.com/2012/12/20/julius-caesar).

Our entrance this time is through an ante room where we are penned as prison officers lay out the rules, which I can testify is an authentic prison entrance as I’ve experienced it for real at Wandsworth Prison a few times (attending a show!). In this specially created space we have an even more authentic caged prison gym with seating on four sides. After an introduction from lifer Hannah, we launch into the prisoner’s production of Shakespeare’s play.

It’s uncanny how the dialogue takes on real meaning for incarcerated women. It’s as inventively staged as the first two, with only items you would find in such a place for props and costumes. The performances are extraordinarily committed and passionate. A grey vest, tracksuit bottom and no make-up must be the most unglamorous stage get-up any theatrical Dame has donned and here Harriet Walter as Hannah playing Prospero is the beating heart of the piece. The great Sophie Stanton as Caliban is as at home as she was as a Dagenham Ford machinist or a Thamesmead mum or a series of Spitalfields barmaids. I very much liked Jade Anouka’s Ariel and Leah Harvey’s Miranda and Karen Dunbar was a terrific Trinculo. The last time I saw Sheila Atim, in Les Blancs, she was mute but hugely charismatic, which she is here, but with dialogue as Ferdinand.

I didn’t think the play’s story and themes suit the setting as much as the power, control and revenge of the previous two plays, but it’s a great pioneering achievement which will go down in theatrical history. Oh, and the blue plastic chairs are a lot more comfortable than the grey plastic ones at the Donmar, though not as plush as the Lazarus seats next door!

 

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When I first heard that the Donmar had programmed an all-female Julius Caesar, I thought it was the new (female) Artistic Director making a point. A bit of a gimmick. I nearly didn’t book. Well, gobble gobble (sound of me eating my words).

The RSC’s African version earlier in the year had me thinking how much more relevant it was in a 20th century banana republic with all the intrigue and machiavellian machinations. This one, set in a women’s prison, made me feel just the same. Somewhere where power, control and ‘politics’ loom large.

The Donmar has had another one of its extraordinary transformations. Fading painted walls, metal walkways and even authentic light switches; it’s every inch a prison – right down to the grey plastic chairs replacing the usual padded benches; not that my bum noticed – I was too engrossed. Bunny Christie’s design is superb.

Even though it is done as a play-within-a-play, its with a very light touch in Philida Lloyd’s production and Shakespeare’s play doesn’t get swamped in any way. It seemed to me perfectly plausible that Caesar would get done over by a gang of fellow prisoners, leading to tussles for control and  power games. It just worked, no better than in Mark Anthony’s great speech, which was electrifying.

It’s a great cast and the four central performances tower. Seeing Frances Barber as Julius reminds you how good an actor she is. Cush Gumbo, who I’ve only seen in a restoration comedy(!), is a revelation as Mark Anthony. Harriet Walter is a passionate, defiant yet vulnerable Brutus. Only months after welcoming Jenny Jules in her first Shakespearean role, here she is as the best Cassius I’ve ever seen.

This is as gripping and thrilling a couple of hours can get in a theatre. Don’t miss it.

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