Catherine Bennett resumes the weekly look at the performing arts world, with the sad end of Jerusalem, the luck of a cabbie, and French revolt. Do you hear the people sing?
Adam Alcock reviews Nigel Kennedy playing Vivaldi's Four Seasons and his own Four Elements at York Opera House.
Catherine Bennett highlights the trends in the performing arts world today.
Jonathan Cridford reviews 'Ghosts', one of the Freshers' plays for this year.
“Cry, Trojans, Cry! Lend me ten-thousand eyes, and I will fill them with prophetic tears” – Cassandra
Troilus and Cressida may not come immediately to mind when asked to name any of Shakespeare’s plays, but without a doubt this play certainly leaves an impression upon its audience. As one of Shakespeare’s infamous ‘problem plays’ (the other two being All’s Well That Ends Well and Measure for Measure) it seems to be more of a commentary of political and moral dilemmas which engulf and destroy the lives of individuals. While this may start sounding too pessimistic, it also contains some of the best examples of Shakespeare’s ‘humour’ (if of course you find him funny... I know that the women behind me certainly did) by encompassing word-play, physical comedy, and in the keeping of Shakespeare, some very naughty jokes.
Influenced by Homer’s Iliad and Chaucer’s Troilus and Criseyde, the play opens during the later years of the Greek siege upon Troy – when the mighty Achilles refuses to fight because of Agamemnon’s pride– and focuses upon the romance and subsequent tragedy suffered by both Troilus and Cressida; the Greek’s attempts to persuade Achilles to drive the Trojans back from their walls; and the divide amongst the Trojan leaders over whether the war should continue. While the play itself does not seem to focus upon Troilus and Cressida, they are as integral for the audience to appreciate, and perhaps relate to, as the personal losses suffered in war. The York Shakespeare Project interpretation takes us from the Trojan walls described in Homer’s Iliad to the setting of York amidst the English Civil war (which was besieged for 10 weeks rather than 10 years!). The performance by the whole cast was a fitting tribute to this play – and the applause given reflected the collective sentiment of the entire audience. The two leads, Alan Flower as Troilus and Virginia Hartmann as Cressida, had the stage presence which commanded the attention of the entire audience throughout their meeting, confessions of love, and finally through her ‘betrayal’. However, it is my opinion that James Rotchell’s performance of Thersites provides the much needed comedy to this play and stole the show: I particularly enjoyed the scene in the play where Thersites provokes the “beef-witted lord,” Ajax (Jon Adams).
Another strength of the York Shakespeare Project were their costumes of both the soldiers and the womenfolk, which fit into the Civil War theme. Whether or not they were historically accurate for the time may be disputed, but they certainly added to the world into which the audience was drawn. I also must praise the stage musicians with their woodwind instruments, and the singers whichmade the play even more of an enjoyable experience.
As I sat down in the theatre, I had the epiphany that I actually had no knowledge of what this play was about, and I am glad that I did not. If I had, I honestly believe that it would have taken away from some of the magic of their performance. While I may not recommend it to anyone who is unfamiliar with the play, or is looking for a simpler play; I would strongly recommend it to any lovers of theatre and of Shakespeare. I had a wonderful time watching the York Shakespeare Project – and guarantee that if you have the opportunity to watch them, you WILL enjoy it.
You must log in to submit a comment.
