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Michael Cox reviews the first two productions of this year's Bard in the Botanics summer season.
Another summer, another season of Bard in the Botanics. This yearly seasonal treat (weather depending) usually supplies some needed theatrical highlights in a time that Scottish theatre lacks much option.
And it’s a pleasure to report that the first two productions play to the company’s strengths.
First up, Twelfth Night (***). Director Jennifer Dick has transported the action from classical Illyria to a warped 1960s Britain. Dick’s production makes much use of the decade’s colour scheme, fashions and music, resulting in a production that doesn’t take itself too seriously. It also incorporates musical numbers, most of which are lip-synched and come across as underwhelming.
But stick with it, because in the end this Night does win the audience over. This might not be the funniest production of the text, but it is charming and does make use of the 60s concept well. However, the more significant concept at work here is that it is gender-neutral. Men play female roles pretending to be men, women play male roles and male roles become female. It gets to the point where gender just doesn’t matter, which in the end works out rather splendidly for the dramatic action.
The performances are solid across the board. Robert Elkin makes for a good Viola/Cesario, Stephanie McGregor has a lot of fun playing Feste and Kirk Bage has no trouble in playing the larger-than-life and trouble-causing Sir Toby Belch. The best performance, however, is from Adam Donaldson, who’s Malvolio goes from pompous to sympathetic, always teetering between hilarious and victimised. Donaldson plays the balance brilliantly and is the standout in a production that works far more than it doesn’t.
Also filled with standout moments is Coriolanus (****). This play, about a man who proves to be a brilliant solider but a lousy politician, seems to have benefitted greatly by time, for modern society’s cynical view of politics and ease in getting worked up via social media platforms make this a very potent story for our time.
Director Gordon Barr’s transverse staging gives the production an intimate air. It allows the action to feel up-close, and it puts the audience in the middle of all the town square debates. Barr’s staging is quick, and he is helped with a terrific ensemble.
Barr’s production also asks a rather brave academic question: can the character of Coriolanus be a female? In response to Barr’s production, the short answer is a qualified: yes. This production changes all masculine pronouns to the feminine and even changes the sex of Coriolanus’ spouse. However, taking the company’s production of Twelfth Night to heart, the bigger question is: does Coriolanus have to be made female to allow an actress to play this plum role? That’s a tougher question, one that individuals will have to answer for themselves.
What cannot be denied is how outstanding Nicole Cooper is in playing the role. Male or female, she is terrific as the character: brilliantly violent on the battleground, wanting approval of matriarch Volumnia (Janette Foggo—wonderful here) and aloof to the people of Rome. Cooper excels in playing every aspect of Coriolanus and is reason enough to see this excellent production of a play that isn’t performed as much as it deserves to be.
Twelfth Night and Coriolanus perform at the Glasgow Botanic Gardens until July 9. Check website for details and weather updates.
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