It’s the time of year when the theatre critics announce their highlights and so, in that indulgent spirit, I offer my own recap on the UK Renaissance theatre scene in 2014.
Naturally, I didn’t get to see everything, so I’ll start by acknowledging the things I really wish I’d been able to see. Top of my wishlist is Marlowe’s Tamburlaine The Great, directed by Michael Boyd at the Theatre for a New Audience in New York.
You don’t get many chances to see either of the Tamburlaine plays and this looks like an exciting and disturbing production. It’s on until early January, so if you’re in New York, do see it! Closer to home, I also missed Phyllida Lloyd’s all-female production of Henry IV at the Donmar in which Harriet Walter starred as King Henry and Jamie Lloyd’s Richard III at Trafalgar Studios, in which Martin Freeman played the title role. I can’t imagine Freeman as Richard III but it had some strong reviews. I also managed to mix up the dates and thereby miss Lucy Bailey’s revival of Titus Andronicus at the Globe and I’d also have loved to have seen the Dolphin’s Back production of John Lyly’s The Woman in the Moon, directed by James Wallace at the Rose. There are doubtless lots of other things I missed, or have forgotten about, but these are some of the ones that come to mind.
I’ve made a concerted effort to see as many rarely performed Renaissance plays as possible and I’ve been rewarded, almost without exception, with interesting productions. Inevitably, some are more successful than others, but while I wasn’t enthused by the RSC’s The Roaring Girl (and here, I actually blame Dekker and Middleton) I often found that Renaissance plays shone even in the patchier or less successful productions. The Witch of Edmonton emerged for me as a play with a power which exceeded the quality of the RSC’s production. For sure, there were difficult challenges for the young cast who performed Marston’s The Malcontent at the Sam Wanamaker Playhouse, but here, again, the play’s biting humour and tonal variety came across strongly. I thought that the RSC’s Arden of Faversham slightly over-egged the comedy, but there’s little doubt that the play packs a punch and certainly need not be thought of as a ‘historical document’ as Michael Billington insists. Elsewhere, a series of playreadings at The Shakespeare Institute in Stratford-upon-Avon proved the vitality of Thomas Heywood’s plays and in June I recorded some of the responses to his Age plays in a blog post which you can view here. And in London, Francis Beaumont’s The Knight of the Burning Pestle received a deserved full production at the Sam Wanamaker Playhouse and was a major success: it has just reopened and will play until early January so see it if you can. There were many highlights: I had some reservations about Cheek by Jowl’s 2014 revival of ‘Tis Pity She’s a Whore, but I thought its ceaseless inventiveness made it vastly superior to the Globe’s production. Much has been made of how the small stage and atmospheric lighting of the Sam Wanamaker Playhouse can create a sense of an invaded intimacy, but Cheek by Jowl, by staging the entire play as if in Annabella’s bedroom, were more successful in this regard. I also really enjoyed Edward’s Boy’s brilliant and joyful production of Galatea. Dolphin’s Back, who deserve more recognition, are one to watch out for in 2015: their production of Marlowe’s The Massacre at Paris was exciting, disturbing, and funny.
By contrast, the Shakespeare shows I saw this year often underwhelmed. On the whole, I thought the National’s King Lear misfired and the RSC’s summer season was a little flat. Curiously, The Two Gentlemen of Verona played for only a couple of months meaning that Gregory Doran’s Henry IV productions reigned in the main house for, perhaps, a little too long. I was looking forward to seeing Filter’s Macbeth at the Tobacco Factory in Bristol ahead of its new year tour but I found it ill-judged and unsuccessful. The Original Pronunciation staged reading of Macbeth, performed worked better, however, and the OP added an interesting twist to proceedings, as I discussed here. It should be said that I didn’t do much to prioritize Shakespeare productions; in 2015 I’ll try harder to catch a wider range of Shakespeare plays. In my next post, I’ll preview some of the shows I’m most looking forward to seeing.