Bloodlust. Incest. Child murder. Beheading. Knife fights. Gunfights. Suicide. Excommunication. Adultery. Illegitimacy. Royalty. Commodity. Partying. Wedding. Poisoning. War.
Mad world, mad rulers, insanely brilliant composition...Not Scorsese's Godfather, but Shakespeare's King John. King John, King John at the RSC. And here's my two cents.
'What's not to love?' says one usher, the day before I go to see the last show of the run of one of my new favorite plays. 'We stiff the French, Alex (Waldmann) gets his shirt off, and there's Dirty Dancing!' 'But this is _Stratford_!' sputtered another, traditionalist theatre-goer in the post-show talkback. 'That was brilliant, amazing. I'm in awe..I'm 16, and that was the best poisoning scene I've ever seen.' responds another (in an age where the average elementary-leaving student has statistically seen over 8,000 TV murders). 'I don't need pop culture overlaid on my Shakespeare to understand it!' huffs the white-haired doyen of Shakespeare studies, who left at the interval and then tweeted about it. Truly, this is a very modern, Pulp Fiction-esque take on Shakespeare -- Swedish director Aberg at 32 isn't much older than her leads, and fashion critic Indigo has written up the costumes on her blog http://loveindigoblog.blogspot.co.uk/2012/06/party-like-king.html . 'Whether you hate or love it, as long as you're not bored', says Waldmann in the talkback, 'I consider us a success...we've had a blast with it, Maria (Aberg) asked in rehearsal if she should turn the [very loud!] music down, and Pippa (Nixon) and I were like, 'Nooooo, turn it up!!!'
There's a lot to love in a production that gets, if not through your ears, under your skin and into your blood. Besides sexing up the action in love and war by setting it in a seedy, modern-day, balloon- champagne- potted plant- and confetti-filled hotel, complete with rock music soundtrack and a neon 'for god and england' [sic] sign, Aberg's most controversial and powerful amendment has been to alter the Supporting Actor as it were, or the Bastard, into a fantastic female character (into which she also rather unfortunately merges the weaker character of Hubert, or the glorified babysitter). Pippa Nixon, wearing fluorescent tights, gold sneakers, and dark red lipstick, gets all the best moments. She opens the action by drawing us into a god-awful singalong of 'Land of Hope and Glory' as she plays on the ukulele, with a pick she clownishly materializes out of her mouth; she buoys it in the middle by triumphantly brandishing the King of Austria's bloody head and laying it at our feet, like a cat thrilled with its kill, or by making our hair stand on end while singing Wye Oak's piercing, evocative 'Civilian' http://www.youtube.com/watch?v=zh3Z43HsbpE&feature=related , a tribute to dying youth and dying youths, famous from the Walking Dead zombie TV series; she gets to deliver the great speeches -- on 'commodity' and 'be great in thought as you have in deed' and 'if England to itself do rest but true' -- and she closes the action by wailing, devastated, over her fragilely defiant king convulsing in her arms, undone by his own cocky bloodiness come back to ravage him with startling fatality, like the Python Holy Grail's killer rabbit's grrreeeat nasty big pointy teeth.
Absolute power supposedly corrupts absolutely -- Aberg makes bones about this, a lot of them. In a court reminiscent of a jaded Monaguesqe society, there doesn't seem to be much to do besides fight and have raucous, circus-like parties. John (that same cowardly king in Disney's Robin Hood that was scared of snakes, and sucked his thumb) like the rest of the English and the French court and their hangers-on, is as much a victim of his own charisma and lack of scruples as his own reckless, devious, escapist angst. The royal women want war just as badly as the men; one 'speaks not from her faith, but from her need' accuses gentle Blanche (Natalie Klamar), pleading to the Pope, vainly trying to stem Mafia-like family infighting and warmongering on her wedding day. Klamar plays the 'Baby' figure who nails the lift in a gorgeous Dirty Dancing reprise http://www.youtube.com/watch?v=WpmILPAcRQo, and the Barbie-like political bride in a blonde wig and frilly dress who also nails the difference between faith and need as she gets put in a corner by all of them, dreams crushed as John stamps on her bouquet.
The 'Holy Legate of the Pope' has also been gender-crossed by Aberg, and played appropriately by Italian Paola Dionisotti in the latest black & white & shades fashion of Milan - she's also the only one able to get John's shirt off, in a visceral repentance scene that shows off his lion and crown, nape and bicep, royal tattoos, baring body and soul while making you wonder whether the authoritarian sadism really lies in church or in crown. Nixon, who has earlier declared 'gain be my lord, and I will worship thee' also gets to decide whether to follow authority and commodity, or truth; whether to put out young Arthur's eyes on command with a hot poker (innocent as ever, the several children that played it on the three nights I saw it), and thus conveniently clear the line of succession; or, whether to remain true to herself -- or to whatever's left of it after she's done playing at being a royal bastard, hero, murderer, musician, and victim of molestation.
The only things not to love here are the war chorus -- who are arguably supposed to represent the fragmentation of war and madness, yet come across in a jangle of voices as pure cacophony - and the fact that, like the wall of shiny balloons that finally get out to tumble (and burst) all over us during the second half, this zany production has a 'self-destruct' button written into it by the necessity of theatre contracts.
The production works because it is true both to itself and its history, pleasant and sickening, ancient and current, showy and stark. Pippa Nixon's costumes were designed around her own personal wardrobe; during the Olympics, in a nod to either patriotism, pop culture, commodity, or probably just for fun, the cast worked in the 'Mobot' move. While the insertion of Dirty Dancing was criticized by the doyen for 'not being Shakespeare' , it was true to the spirit, if not the letter, of his scene of the joy of two hearts coming together (besides, I have a soft spot for Swayze, as a once bratty Texan kid in the ballet class where his mother taught my own). John's final plea for redemption is a similar redux, set to the lyrics of Madcon's Beggin', a song remixed from the 1967 original and later used by Adidas ads - 'I'm beggin', beggin' you, put your loving hand out, baby...ridin' high, when I was king, played it hard and fast, cause I had everything...tried so hard to be your man...a broken man, that I don't know, won't even stand the devil's dance to win my soul' http://www.youtube.com/watch?v=EubynGPvNNg It may not have been meant to, but the lyrics reminded me of Shakespeare's Dream epilogue and plea for applause 'Give me your hands, if we be friends, and Robin shall restore amends.' At the final show, they had to turn on the lights to stop the endless applause.
For all its bling, King John bared its core of angst and darkness and the inevitable loss of love and life brought on by selfishness and war. The twin Tories in party hats, and the French politician with his carry bag of Big Ben souvenirs from across the Channel, while they got laughs, heightened a sense of carpe diem among the party culture, a sense that grows sharper in the age of 9/11 and WMD and a world still mad. Shakespeare was on to something, as always -- whether we want him to be our popular contemporary or dignified ancestor -- and the RSC's sniffed out the method in the madness and then rubbed our noses in it, whether we love it or not.
Mad world, mad rulers, insanely brilliant composition...Not Scorsese's Godfather, but Shakespeare's King John. King John, King John at the RSC. And here's my two cents.
'What's not to love?' says one usher, the day before I go to see the last show of the run of one of my new favorite plays. 'We stiff the French, Alex (Waldmann) gets his shirt off, and there's Dirty Dancing!' 'But this is _Stratford_!' sputtered another, traditionalist theatre-goer in the post-show talkback. 'That was brilliant, amazing. I'm in awe..I'm 16, and that was the best poisoning scene I've ever seen.' responds another (in an age where the average elementary-leaving student has statistically seen over 8,000 TV murders). 'I don't need pop culture overlaid on my Shakespeare to understand it!' huffs the white-haired doyen of Shakespeare studies, who left at the interval and then tweeted about it. Truly, this is a very modern, Pulp Fiction-esque take on Shakespeare -- Swedish director Aberg at 32 isn't much older than her leads, and fashion critic Indigo has written up the costumes on her blog http://loveindigoblog.blogspot.co.uk/2012/06/party-like-king.html . 'Whether you hate or love it, as long as you're not bored', says Waldmann in the talkback, 'I consider us a success...we've had a blast with it, Maria (Aberg) asked in rehearsal if she should turn the [very loud!] music down, and Pippa (Nixon) and I were like, 'Nooooo, turn it up!!!'
There's a lot to love in a production that gets, if not through your ears, under your skin and into your blood. Besides sexing up the action in love and war by setting it in a seedy, modern-day, balloon- champagne- potted plant- and confetti-filled hotel, complete with rock music soundtrack and a neon 'for god and england' [sic] sign, Aberg's most controversial and powerful amendment has been to alter the Supporting Actor as it were, or the Bastard, into a fantastic female character (into which she also rather unfortunately merges the weaker character of Hubert, or the glorified babysitter). Pippa Nixon, wearing fluorescent tights, gold sneakers, and dark red lipstick, gets all the best moments. She opens the action by drawing us into a god-awful singalong of 'Land of Hope and Glory' as she plays on the ukulele, with a pick she clownishly materializes out of her mouth; she buoys it in the middle by triumphantly brandishing the King of Austria's bloody head and laying it at our feet, like a cat thrilled with its kill, or by making our hair stand on end while singing Wye Oak's piercing, evocative 'Civilian' http://www.youtube.com/watch?v=zh3Z43HsbpE&feature=related , a tribute to dying youth and dying youths, famous from the Walking Dead zombie TV series; she gets to deliver the great speeches -- on 'commodity' and 'be great in thought as you have in deed' and 'if England to itself do rest but true' -- and she closes the action by wailing, devastated, over her fragilely defiant king convulsing in her arms, undone by his own cocky bloodiness come back to ravage him with startling fatality, like the Python Holy Grail's killer rabbit's grrreeeat nasty big pointy teeth.
Absolute power supposedly corrupts absolutely -- Aberg makes bones about this, a lot of them. In a court reminiscent of a jaded Monaguesqe society, there doesn't seem to be much to do besides fight and have raucous, circus-like parties. John (that same cowardly king in Disney's Robin Hood that was scared of snakes, and sucked his thumb) like the rest of the English and the French court and their hangers-on, is as much a victim of his own charisma and lack of scruples as his own reckless, devious, escapist angst. The royal women want war just as badly as the men; one 'speaks not from her faith, but from her need' accuses gentle Blanche (Natalie Klamar), pleading to the Pope, vainly trying to stem Mafia-like family infighting and warmongering on her wedding day. Klamar plays the 'Baby' figure who nails the lift in a gorgeous Dirty Dancing reprise http://www.youtube.com/watch?v=WpmILPAcRQo, and the Barbie-like political bride in a blonde wig and frilly dress who also nails the difference between faith and need as she gets put in a corner by all of them, dreams crushed as John stamps on her bouquet.
The 'Holy Legate of the Pope' has also been gender-crossed by Aberg, and played appropriately by Italian Paola Dionisotti in the latest black & white & shades fashion of Milan - she's also the only one able to get John's shirt off, in a visceral repentance scene that shows off his lion and crown, nape and bicep, royal tattoos, baring body and soul while making you wonder whether the authoritarian sadism really lies in church or in crown. Nixon, who has earlier declared 'gain be my lord, and I will worship thee' also gets to decide whether to follow authority and commodity, or truth; whether to put out young Arthur's eyes on command with a hot poker (innocent as ever, the several children that played it on the three nights I saw it), and thus conveniently clear the line of succession; or, whether to remain true to herself -- or to whatever's left of it after she's done playing at being a royal bastard, hero, murderer, musician, and victim of molestation.
The only things not to love here are the war chorus -- who are arguably supposed to represent the fragmentation of war and madness, yet come across in a jangle of voices as pure cacophony - and the fact that, like the wall of shiny balloons that finally get out to tumble (and burst) all over us during the second half, this zany production has a 'self-destruct' button written into it by the necessity of theatre contracts.
The production works because it is true both to itself and its history, pleasant and sickening, ancient and current, showy and stark. Pippa Nixon's costumes were designed around her own personal wardrobe; during the Olympics, in a nod to either patriotism, pop culture, commodity, or probably just for fun, the cast worked in the 'Mobot' move. While the insertion of Dirty Dancing was criticized by the doyen for 'not being Shakespeare' , it was true to the spirit, if not the letter, of his scene of the joy of two hearts coming together (besides, I have a soft spot for Swayze, as a once bratty Texan kid in the ballet class where his mother taught my own). John's final plea for redemption is a similar redux, set to the lyrics of Madcon's Beggin', a song remixed from the 1967 original and later used by Adidas ads - 'I'm beggin', beggin' you, put your loving hand out, baby...ridin' high, when I was king, played it hard and fast, cause I had everything...tried so hard to be your man...a broken man, that I don't know, won't even stand the devil's dance to win my soul' http://www.youtube.com/watch?v=EubynGPvNNg It may not have been meant to, but the lyrics reminded me of Shakespeare's Dream epilogue and plea for applause 'Give me your hands, if we be friends, and Robin shall restore amends.' At the final show, they had to turn on the lights to stop the endless applause.
For all its bling, King John bared its core of angst and darkness and the inevitable loss of love and life brought on by selfishness and war. The twin Tories in party hats, and the French politician with his carry bag of Big Ben souvenirs from across the Channel, while they got laughs, heightened a sense of carpe diem among the party culture, a sense that grows sharper in the age of 9/11 and WMD and a world still mad. Shakespeare was on to something, as always -- whether we want him to be our popular contemporary or dignified ancestor -- and the RSC's sniffed out the method in the madness and then rubbed our noses in it, whether we love it or not.
