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Shakespeare’s Globe The Frontline
Photo by John Tramper
Written by: Ché Walker Directed by: Matthew Dunster
6 July – 17 August, 08
A review by Amber Gregory for EXTRA! EXTRA!
When first asked to review at Shakespeare’s Globe I was expecting to see one of Shakespeare’s classics. I was therefore surprised and excited when I found out that I would be reviewing one of the modern plays that are on this season. Shakespeare’s Globe is one of the most famous outdoor theatres. Perfect for the British summertime, to enjoy a cultural performance in a theatre where an audience could easily feel as if they are in the Elizabethan period. However, back in the Elizabethan era when global warming would not have been an issue, so torrential rain on a July summers day would have been completely out of the question. The actors performed the best they could under the monsoon like circumstances, and even adapted parts of the play to improvise one liners commenting on the weather, which was a beautiful touch. ‘I am fascinated by what happens around stations. There is usually skulduggery, drug trafficking, prostitution, lost people arriving, drifting, on their way somewhere’. This is a comment made by the playwright and it is certainly one that is reflected throughout the performance. We see men in chicken costumes, a prostitute, a guy who works at Mc Donald’s, a struggling desperate actor, a homeless man, drug dealers and more. This may sound like an odd mix of people but if you’ve ever been to Camden Town on a Saturday night it is an accurate perception. Throughout the performance the characters cut into each other’s dialogue and this use of stichomythia gives us the chance to gain brief insights into a number of people’s lives. The performance may become difficult to watch if as a spectator you try to focus on the numerous characters and storylines. What one must do is take a step back, and rather than trying to focus instead on every storyline, to grasp an overall understanding of what we see before us- an amalgamation of extraordinary characters all living in the same space and observing the interaction that we see. We are not shown the long back stories of the characters on stage- we are shown glimpses into their lives. The performance has been written, directed and performed with the influences of both Shakespeare and Brecht. The performance begins with a prologue, which we rarely see in modern day writing. The prologue welcomes us to the show and tells us of what we will see in the evening’s performance. It is performed in an unconventional rap style. This in itself is interesting as it is using very traditional theatre techniques but adapting them in a modern style. This is a brave thing for any playwright to do. The cast is large, once again this echoes Shakespeare style performances, as we are able to get to know some of the characters in detail but the rest are there merely for the flavouring of the story. John Stahl plays the hot dog vendor in a humorous fashion and he is the ‘narrator’ of the play. He tells us of what is to happen throughout, so that we know what to expect. This is an extremely Brechtian technique. We are not at the theatre to be shocked and entertained, we are there to observe and learn about the meaningful and the political. The play has also incorporated the Brechtian style of scenery and sound. The set, designed by Paul Wills, is simple. We immediately see that we are at an underground station next to a dodgy club. There is an interesting piece of art work in the background which shows a young girl holding a balloon. Like many artistic images this can be interpreted in a number of different ways, or perhaps it is just typically ‘Camden’- different, and with a deep meaning that no one quite understands. The musical instruments are seen on stage, nothing in this performance is hidden, everything we see is real, and everything the actors are performing could be happening in Camden underground whilst we are watching the show. There are several songs that are also repeated throughout the performance. This worked very well as it unified the cast when they all sang as one. It would however have been interesting if Brecht’s technique of having words of the songs on a screen on the stage was employed, as often many of the words could not be heard- though that may have just been due to the rain. The performance is a brave one to have on at Shakespeare’s Globe. We see scenes of a sexual nature and not the politest language, that unknowing tourists may expect when visiting this British landmark is employed. However, all members of the cast and crew have clearly worked hard on this performance to help Shakespeare’s Globe offer yet another unforgettable season.
Booking: Performance length: 2 hours 45 minutes including interval On-line www.shakespeares-globe.org
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