First published in The Times, Wednesday June 7 2017
By coincidence, Dundee Rep’s community production of Brecht’s anti-fascist allegory is running at the same time as a major revival at the Donmar Warehouse. Where Brecht’s 1941 “parable play” parodied Hitler’s rise to power through the story of a small-time gangster who assumes control over the Chicago cauliflower racket in the 1930s, the London production, starring Lenny Henry, draws explicit parallels with the campaigning rhetoric and behaviour in office of the current resident of 1600 Pennsylvania Avenue.
First published in The Times, Thursday April 27 2017
The tale of how Mary Shelley came up with the idea for Frankenstein in a waking dream while staying at Lake Geneva in the summer of 1816 is almost as familiar as the plot of the novel itself. Less well known is the author’s connection with the city of Dundee, where the 14-year-old Shelley (née Mary Wollstonecraft Godwin) spent several months recuperating from illness in 1812.
It is no mean feat to take a play as endlessly revived and oft discussed as Arthur Miller’s Pulitzer Prize-winning masterpiece and make audiences feel as though they are seeing it for the first time. Yet this production, directed by Joe Douglas for the Dundee Rep ensemble, offers an abundance of fresh perspectives on a text many people first encounter as high school students.
Sometimes the power of theatre to transport its audience can be instantaneous. As we make our way, still dripping from a June shower, into the auditorium of Dundee Rep, Ken Harrison’s set of rusticated gold pillars and wrought iron archways, made to gleam by Mike Robertson’s lighting, produces a palpably warming, comforting effect. People can be seen basking their faces in the glow. It’s like the start of a much-needed summer holiday.
First published in The Times, Tuesday March 8 2016
It would appear there are two possible approaches that can be taken when dramatising the crime fiction of Agatha Christie. The BBC may have made a bold attempt to inject some social context and depth of characterisation into their recent dark adaptation of And Then There Were None. Yet, the work of the Queen of Crime is still more familiar to stage and screen audiences as a kind of camp pageant, in which characters with all the complexity of Cluedo figurines gather to hear the solution to what amounts to an intricate puzzle.
First published in The Times, Monday December 7 2015
The Witches: Three Stars
Sleeping Betty: Three Stars
A Roald Dahl adaptation at Dundee Rep has become as much a staple of the Christmas season as mince pies. This is the third year in a row that the ensemble has staged one of David Wood’s adaptations of the celebrated author’s twisted children’s tales, with a production of George’s Marvellous Medicine already slated for next year.
Like George’s potion or the formula developed by the Grand High Witch to turn children into mice, at its best Dahl’s absurdist, somewhat menacing sensibility is a recipe for dark theatrical magic. Jemima Levick’s production of The Witches certainly doesn’t lack pungent set pieces, notably the anarchic hotel dining room sequence, in which the tale’s boy-to-mouse hero (Matthew Forbes) tries to turn the tables on the dastardly coven. The show gains further levity from its use of live music, developed by Gavin Swift and performed live.