Tag Archives: Lucy Phelps

Much Ado Al Fresco

Cometh June, cometh free theatre at the Dell, Stratford-upon-Avon’s outdoor stage at the upper end of Waterside, by the river.

The opening show, Shakespeare’s Much Ado About Nothing, was presented by a clever mix of RSC staff amateur actors, Shakespeare Institute students and current RSC actors, and directed by James Corrigan – with just one daring week of rehearsals.

Lucy Phelps as Beatrice

A cheerful, large audience came together, picnic blankets, matching hampers, raincoats, brollies, kids, dogs and all.

The play was everywhere, in the midst of the audience, under and on trees, vibrating all around. What joy, dynamic, what a sparkling display of fun ideas. Brilliant work by amateurs and pros alike.

Rhys Bevan as Benedick

Particularly thrilling: Lucy Phelps as Beatrice and Rhys Bevan as Benedick, perfect chemistry and glorious banter.
A female Leonato, Samantha Powell, harvested extra cheers when well-known male lines tipped into hilariousness: “I think this is your daughter?”  “Her father hath many times told me so.”
Also utterly believable in a female version: Don John, the evil brother, played by Grace Martin.

The watch, by Naomi Jacobs, Andrea Moon, Leon Peckson, George Sothcott and Annie Wilson delivered their play-within-the-play as a serious laugh muscle exercise.

With prescience set up under a well leafy roof, a live band accompanied the show, inciting little jigs here and there.

Under the usual conditions of an English summer, two short showers couldn’t be danced away entirely, but the well-prepared audience was not for turning away from this delightful production.

 

 

Well done, everybody.

 

 

 

The Dell season:
https://www.rsc.org.uk/events/the-dell

Julius Caesar in times of political freak waves

Andrew Woodall as Julius Caesar

A production in the context of the Royal Shakespeare Company’s “Roman Season”, Stratford-upon-Avon, 3 March to 9 September 217 in Stratford, in London, Barbican Theatre from 24 November 2017 to 20 January 2018, directed by Angus Jackson.

The plot creeps up, subtly at first, suddenly disturbing, urging, electrifying, surging, subsiding and self-destructive like the conspiracy itself. Near impossible not to feel how closely the emotions and demagogy of classical times match our own world of experience, even if the 21st century’s rhetoric is hardly on the same quality level.

Alex Waldmann as Brutus, Kristin Atherton as Calphurnia, Andrew Woodall as Julius Caesar

On the backdrop of Robert Innes Hopkins’s puristic set, reflecting the Roman Republic’s brutal imperialistic arrogance, including the disturbing sculpture of a lion devouring a horse, the well-known drama unfolds in 2.5 gripping hours.
Brutus, in a highly sensitive interpretation by Alex Waldmann, is, in spite of his distinguished social status, an insecure person, torn between his friendship with Caesar and his sense of duty towards Rome. In his attempts to pacify his conscience, he paves the way towards his so literal end. Waldmann gives him traits of a reluctant hero who cannot forgive himself that there was no clean way out, and he depicts him with a tenderness, as if it were his best friend.
Cassius, the actual instigator of the conspiracy, is, impersonated by Martin Hutson, in wonderfully overstrung hands. A character, utterly unimpeded by scruples of any kind, jumping into action out of personal vexation and political conviction, this Cassius is a conveyor of uneasy feelings.

James Corrigan as Mark Anthony, Alex Waldmann als Brutus

Mark Antony, played by James Corrigan, is the seemingly noble picker-upper of shards, ultimately proven right by fate, at least in the context of these events. Corrigan operates his ice-cold calculation, his targeted manipulation with a gentle air of good-boy innocence. In the unequalled funeral speech, he plays people’s minds like an orchestra’s string section and thus unleashes the civil war.Martin Hutson as Cassius
Julius Caesar, as portrayed by Andrew Woodall, is like a fish out of water in non-military life, used to giving orders, an egomaniac who tries to make up for his health deficiency and lack of diplomatic skills with vanity and obsession with power.
Also impressive: Tom McCall as Casca, the cynic who sees Caesar’s interaction with ordinary people as nothing but theatrical gimmicks, which leaves him with sheer contempt for the populace’s darling.
Portia, wife of Brutus, has little time to express her feelings in this male-dominated play, but Hannah Morris is absolutely amazing in filling this part with life.

Photos by Helen Maybanks (c) RSC
Joseph Adelakun – cobbler / Artemidorus / Dardanus
Ben Allen – Cinna the Conspirator / Titanius
Kristin Atherton – Calphurnia
David Burnett – Marullus, a tribune / Trebonius / Pindarus
James Corrigan – Mark Anthony
Paul Dodds – Metellus Cimber / Clitus
Patrick Drury – Cinna The Poet / Publius
Waleed Elgadi – Soothsayer / Claudius
Martin Hutson – Cassius
Tom Lorcan – Publius
Luke MacGregor – Carpenter / Voluminous / Popilus Lena / Strato
Tom McCall – Casca / Lucilius
Hannah Morish – Portia
Anthony Ofoegbu – Cicero / Ligurius
Dharmesh Patel – Decius Brutus / Messala
Lucy Phelps – Waiting Woman
Jon Tarcy – Octavius
Alex Waldmann – Brutus
Marcello Walton – Lepidus / Flavius
Andrew Woodall – Julius Caesar

16 Citizens of Rome

directed by Angus Jackson

music:
Andrew Stone Fewings- trumpet
Angela Whelan – trumpet
Mark Smith – horn
Kevin Pitt – trombone, euphonium
Ian Foster – tuba, euphonium
Gareth Ellis – keyboard