There is always an element of suspense for audiences to any production of Measure for Measure – even for those who have seen Shakespeare’s most problematic play many times. How will the director and company reconcile the pessimistic depiction of corrupted power, sexuality and relationships with the play’s supposedly comedic elements, including the final flurry of marriages, two of which are meted out as punishments?
First published in The Times, Tuesday June 27 2017
Last year, Bard in the Botanics, Glasgow’s long-running outdoor Shakespeare festival, launched a new strand, Writing the Renaissance, showcasing the work of the bard’s lesser-known contemporaries. The inaugural production was a radical adaptation of Christopher Marlowe’s Dr Faustus, whittled down to a fleet 90 minutes and performed by a cast of just three actors.
Staging outdoor theatre in Scotland is a risky business. Just ask Gordon Barr, the artistic director of Bard in the Botanics, who has been anxiously watching the skies above Glasgow’s west end every summer for the past 15 years.
The weather gods were smiling on the opening performance of his new production of the Scottish Play, however. As the city sizzled in a heat wave, the crowd gathered in extraordinary numbers on the grassy embankment at the back of the glasshouses in the Botanic Gardens. For once, the extra clothes, the blankets and sleeping bags, proved surplus to requirements.
First published in The Times, Thursday June 30 2016
While cross-dressing is central to the plot and resolution of a number of Shakespeare’s comedies, Twelfth Night occupies its own league as a comment on gender construction and elastic sexuality. The female protagonist spends most of the play dressed as a pageboy, inadvertently stirring the passions of a woman who has forsworn all male suitors while simultaneously harbouring a secret love for a nobleman. Talk about progressive.
In recent years, Bard in the Botanics, Scotland’s annual summer Shakespeare festival, has complemented its programme of full-scale outdoor productions with one radically pared-down adaptation, performed by a handful of actors in the Kibble Palace glasshouse. Last year’s ambitious reworking of Henry IV Parts I and II, performed by a cast of just three, was a powerful, drum-tight account of Prince Hal’s relationships with his two parental guides, his father the king and feckless Falstaff.
First published in The Times, Tuesday June 30 2015
Love’s Labour’s Lost is one of Shakespeare’s earliest comedies and its dizzying verbosity and baggy middle section does suggest a playwright still finding his fleet feet. That said, in the play’s depiction of a group of young lovers overcoming social hurdles, misunderstandings and mistaken identity to achieve a happy ending, one does find an early template, not only for the Bard’s great comedies, but for the enduring Hollywood screwball farce.