Reviews:
The Magnetic Lady' 2010
The White Bear theatre has a mission to resurrect lost classics. Such an endeavour can be foolhardy, but not in the case of this spirited revival of a late Ben Jonson play that has been effortlessly transported to the decadent thirties . . . An all-round sparkling cast brings out the text’s hilarity and makes the themes of avarice and marital and social ambition contemporary . . . Hugely entertaining, the caddish Michael Bagwell as Master Compass even delivers a song and a dance as he whisks Mistress Pleasance (Juliet Lundholm) off her feet. . . .
Placentia’s reluctant rescuer is Billy Knowles as Master Needle, who stitches the action together, disentangling the knotted plot that could explain the previous neglect of this inherently delightful play.
Barbara Lewis. The Stage. Sep 2010
"This is a wonderful show. Four of us (all discriminating theatre-goers who don’t always agree) saw it last night and we all enjoyed it immensely. Despite the occasional “wordy” patches, this is a great discovery; a Jonson play packed with wit and delivered with panache by a well-directed and largely excellent cast . . . casting decisions were spot on; line delivery was almost always excellent; and the 30s costuming supported the design concept brilliantly; the updating of this period play seemed unforced and totally appropriate. Of course the space limitations work against it, but this production is easily as worthy of a West End transfer as the White Bear’s previous Early Modern comedic success, “Madness in Valencia”'
John Buckingham. The Audience Club. Sep 2010
This is a fantastic adaptation of Ben Jonson's play. It's highly
accessible and the 1930s setting works perfectly. It is very clear and
there is no need to fear the language. . . Definitely one to see.
Anonymous. The Audience Club. Sep 2010
This evening's rendition of Ben
Jonson's The Magnetic Lady was excellent, as we have come to expect from
the tiny White Bear Theatre. . . . The costumes were 1930s, but the dialogue
remained unchanged, which made for an odd visual/audio conflict, but
didn't detract from the mostly excellent acting and the very
entertaining script.
Alobear - Live Journal Public Review Sep 2010
"Ben Jonson's comedy is too convoluted and clever for its own good, and this is one of the very few times it has been performed since he wrote it, and the first professional UK adaptation. The genius of this production is to set it in the 1930s, at once bringing together the turbulent mid 17th century Caroline era of Charles I's reign leading up to Cromwell's protectorate, and the stylish but politically edgy inter-war period brilliantly brought to life by the art-deco style decor and costumes (Catherine Wheaton). It was almost two hours of witty repartee delivered at break-neck speed by a huge cast for such a small stage who did Ben Jonson justice, keeping for the most part to the original play, but lifting its tortuous twists and turns with sparkle and froth to give a surprisingly modern feel to this farce. . . . all the characters have some personal agenda to pursue, so the action requires fierce concentration in order to follow everything that's going on and to get the double entendres and jokes flying to and fro. Help is given at intervals by the servants Master Needle (Billy Knowles) and Mistress Keep (Sharron Byrne) who address the audience with plot digests and homilies which help to concentrate the mind. When Master Compass has won his heart's desire and lined his pocket to boot, he breaks into a charming song and dance routine with his bride, singing 'I'm in Heaven' quite beautifully.
This is a really ambitious project, and the audience actually looked stunned just because there was so much to take in. I admire the tenacity and energy of all involved in this enormously ambitious production although I'm not sure Ben Jonson's complex tangle of misunderstandings, mishaps and marriage deserves the attention. If Ben Jonson's argument is that a household of women can only lead to chaos without the firm management of sensible men like Master Compass, the fact that women have run households and much more with great success throughout history proves him wrong"
Bernie Whelan for EXTRA EXTRA! Sep 2010
"Caroline rarity could be something of a draw.Three playwrights of Shakespeare’s time have traditionally stood out in stark contrast to him, riding high above most of the age. Not for them Shakespeare’s ambiguity and understanding: Marlowe’s heroics, Webster’s gloom and Ben Jonson’s humours occupy clearly-defined territories.
These humours supposedly made up human nature. A preponderance of one determined a person’s character and actions. It took a playwright of Jonson’s force and imagination – a bricklayer, murderer and classicist (only George Chapman more of the last among Renaissance English dramatists) – to make dramas that could energise such an apparently reductive basis for characters.
Unsurprisingly, Jonson specialised (a couple of tragedies aside) in comedies; satires on the foibles of recognisable types. Seeing Jonson’s last comedy revival – the first on the modern professional stage – for Lights of London Productions as part of the White Bear’s admirably bold ‘Lost Classics’ programming strand, with James Sheppard’s stylish 1930s art deco setting, it’s easy to feel the spirit of Restoration comedy – also highly stylised – in a way no Shakespeare comedy would achieve. . . Add the greedy Sir Moth Interest, the sharp servant Needle, and others and there’s a hustling bustle of characters in Elstub’s pacy revival. . . . Gareth Pilkington’s voracious Sir Moth, Michael Bagwell’s lively Compass and Juliet Lindholm as reticent maid turned sudden lady make a strong impression"
Tim Ramsden Reviewsgate Sep 2010
"The White Bear Theatre’s ambitious Lost Classics series has been responsible for some fascinating finds. Their latest revival is Ben Jonson’s late play, The Magnetic Lady, his final comedy, first performed in 1632, which has never been seen on the modern stage.
In Elizabeth Elstub’s energetic production for Lights of London, the farcical play has been smoothly transported to the 1930s . . . Elstub keeps things moving at a fair pace. The plot is packed full of twists and elaborate misunderstandings and Elstub draws as much humour from it as she can. She’s helped by a more than competent cast. The production is carried by the two more seasoned actresses; Maggie Robson as Lady Loadstone is elegantly befuddled, desperately throwing herself at the mercy of Master Compass, a man whom she mistakenly believes to have her best interests at heart, while Darrie Gardner plays the self-important and loquacious former nursemaid, Miss Polish, with fantastic flair. . . and Anthony Acosta was hilariously camp as Sir Diaphanous Silkworm.
Though it is inevitably the men who do all the pursuing, the artifice employed by the female characters makes this an interesting piece of drama from a historical point of view, and an entertaining one from a theatre goer’s.
. . . this revival makes a strong case for the play. Blessed with some excellent comic performances this energetic and uplifting production is a gamble that has paid off.
Gillian Fisher
Theatre Reviews at MusicOMH
'Shakespeare's Women' 2009
"Watching this play was a bittersweet experience: bitter because it was the final performance of a project that briefly toured between October and November at The Rose Bankside and The Old Blue Last, before settling in for a final outing at the Barons Court Theatre. Hence, a retrospective account of an experience that was sweet in many ways. Directed by Elizabeth Elstub for Lights of London Productions (a company based in Shoreditch, Shakespeare's old stamping ground), the play featured the ageing playwright returning to his birthplace (Stratford) to die, comforted by wife Anne (Jeryl Burgess), daughters Susannah (Darrie Gardner) and Judith (Jennie Fox), and young servant Bessie (Laura Darrall).
As Will (Alexander Gordon Wood) passes in and out of dreams and consciousness, he is haunted by the words of some of his most famous female creations (and a few lesser known ones, such as Mistresses Ford and Page from The Merry Wives of Windsor) who enter his mind and are personified in quick change sequences between 'then' and real time by the women around him.
In general, the lines chosen showed a piquant affinity with the big life questions being considered here - those human themes that bear so heavily on us and that keep Shakespeare contemporary: love, loss, the body, war, grief, motherhood, womanhood, the often destructive nature of men. (Laura Darrell's 'these men, these men' uttered with real depth and conviction).
This ensemble of actors proved to be a tight and successful unit. The highlight, for me, a pairing of Ophelia's grief-induced dispersal of flowers in tandem with Juliet's tragic laments over her Romeo, with Jennie Fox and Laura Darrall respectively quite spellbinding, here.
The ending was heralded by Gordon Wood's transition from the clown, bearing the deadly worm of Nilus to Cleopatra and her women, finally morphing into Prospero. . . there is no denying that such an ending, and the reminder that our lives are little and end in sleep, seems a fitting end to proceedings.
The work is a fine example of how Shakespeare's words can be manipulated into new incarnations yet still 'work' when taken out of context, although a working knowledge of the lives of Titania, Desdemona, Portia et al might add to the enjoyment.
Had I seen the play earlier, I would definitely have recommended it; as it is, I feel a transfer to a small West End venue, such as the Jerwood, would work really well. Meanwhile, it's lovely to think of plays being performed in small, intimate underground venues such as Barons Court - a delightful find with 60 seats on three sides in a cellar below the Curtains Up pub (Comeragh Road W14, a short walk from the tube) where actors and audience can be in close proximity and a warming winter drink is never far away".
Anita Butler
BRITISH THEATRE GUIDE Nov 2009
“Just to say, I came to see the show on Saturday afternoon and thought it was brilliant. The acting was unanimously great and it was really enjoyable - what a satisfying play to do . . . just wanted to say well done. Quite inspiring for me personally”.
Amy (London) Nov 2009
“thoroughly enjoyed”
SHAKESPEARE'S BIRTHPLACE TRUST Nov 2009
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'Measure for Measure' 2009
“I was very much looking forward to seeing once again this rarely performed 'problem' play, which is one of my favourites. I well remember seeing the RSC production some 40 years ago with a cast to die for, all experienced mature character actors, well known then and some extremely famous now.
I have passed The Old Blue Last scores of times taking people on guided walks, but never ventured inside. It is full of character, spit and sawdust - a real untouched east end pub. The theatre management were very welcoming and we soon found ourselves in a shabby upstairs room; tiny very high stage one end and curving bar at another ... It goes to show that splendid theatres and huge sets are not always necessary and you can put on a play anywhere if the acting is good enough.
And here, on the whole, it was . . . Seeing such youthful performers in these roles took some getting used to but on the whole they did very well and the audience of students on Thursday afternoon enjoyed themselves (it is a set book).
There was certainly much to enjoy. I am always wary of modern dress Shakespeare, preferring the romantic Pre-Raphaelite look, but was surprised how well this tale of corruption and greed sits so well in our materialistic world. Stewart Bewley gave a new slant to Lucio, an ingratiating and oily City trader type - hugely enjoyable - as was Richard de Lisle's Pompey, with great audience rapport . . . Jennie Fox was a beautifully spoken, graceful though fiesty heroine and how great to find a Mariana, in Katie Andrew's finely judged performance, who looked so like her. . . Matthew Wade was a smooth and evil Angelo and Stuart Sessions a beautifully spoken Duke.
On the whole it was a thoroughly satisfying experience and great to see Shakespeare back in Shoreditch, a few yards from his home in Worship Street and Burbage's first Theatre round the corner. I would be happy to see more of Lights of London in the future".
Joy Levene
AUDIENCE CLUB 2009
“I'm not in the theatre and I'm don't feel qualified to be a theatre critic, let alone a critic of a Shakespeare performance. I certainly haven't seen enough Shakespeare to compare one production with another. It is my new year's resolution to see more Shakespeare this year.
I know when I like something and I know when I don't.
I did like Measure for Measure. I thought it was excellent, superb. I liked the casting, the acting and the use of the limited space. There is something delightfully raw about this sort of fringe theatre, which has no scenery, no wizardry - just the actors, really. I can't think of anything negative to say. I'm even tempted to bring a friend to see it at The Rose.
It kept my attention. Perhaps more to the point, it seemed to keep the attention of the rest of the audience - a group of teenagers I assumed (though can't be sure) knew the play from GCSE studies. If a Shakespeare production can keep that lot quiet for two hours, it must be doing something right".
Anthony Bailey
AUDIENCE CLUB Feb 2009
"In Measure for Measure, Lights of London have kept things simple, preferring to let Shakespeare's text and the locations of the performances reflect the deep historical ties both Shoreditch (Old Blue Last) and Bankside (the Rose Theatre) have with the Bard's own history. The costumes have been vaguely modernised in order to bring out the timeless cogency of the play's main themes of justice, morality and corruption, but there is little else in the way of embellished interpretation . . . it was a treat to see Shakespeare's work performed in the first of his riverside theatres (built in 1587) The Rose . . . Stuart Sessions as the Duke gave an appealing performance as the seemingly amiable Duke (and his disguised alter-ego, friar Ludowick) . . . Jennie Fox was well-cast as Isabella, and managed to bring convincing passion to a potentially rather dull persona. Her scene with her brother Claudio, in which he pleads with her to compromise her values and her body for the sake of his life, was the most credible of the whole play . . . The secondary cast - the 'bawds' Mistress Overdone, Pompey and Froth, and their over-zealous nemesis Elbow - provided an entertaining if predictable portion of low-humoured cheek . . . . the strongest moments in the play are those of serious emotional depth and sociological examination. There is a lot of energy and commitment here . . . it is charming (if somewhat chilly) to see Shakespeare's work performed in one of its historical birth places (The Rose)".
Maddy Ryle
REMOTE GOAT (3 star) Feb 2009
The Old Blue Last in Shoreditch is wrapped in the enigmatic silk of the old and the new, this old pub stands on the corner of Great Eastern St and Curtain Rd like a dusty long forgotten palace drawing those wispy first few breaths of re-birth.
I sat in the downstairs of the pub on Saturday afternoon waiting to go upstairs to watch the performance and I quite enjoyed the leisurely laid back atmosphere around me.
The play itself, in true Shakespearian style took an awe inspiring look into the hearts and dealings of humanity. The Lights of London actors and production crew were able to envelop the direness of Shakespearian corruption and the huge gap in the divide of the classes with a touch of the present East End magic.
I quite fell in love with the charm and guile of “Pompey”, I can still remember traces of his beguiling smile and swagger; Lucio’s performance was most refreshing and enthusiastic.
Karlene Watson
AUDIENCE CLUB Feb 2009
Measure for Measure was really good, both my friend and I had a really good time, nice venue and the actor's were amazing"
Anon
AUDIENCE CLUB Feb 2009
"Brilliant in your face theatre! Interesting location with temperature to match, I was half expecting Shakespeare himself to make an appearance!
Anon
AUDIENCE CLUB Feb 2009
“thought they were all brilliant and loved the old pub!”
Anon
AUDIENCE CLUB Feb 2009
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'Shakespeare in Shoreditch' 2008
"Shakespeare in Shoreditch tells the story about a young William Shakespeare who heads to London in hope of finding his fortunes. It follows the bard as he befriends Christopher Marlowe, makes his mark on the London stage, is brought before Queen Elizabeth before finally moving from The Curtain to The Globe.
The play, which was created in part by the actors under the guidance of director Wendy Richardson, combines narration with dramatic scenes and extracts from some of the early plays. As a result it has the feeling of being experimental while not necessarily structured. It is a combination that when it works, works well, with the extracts standing out as the highlights. The extracts are an excellent way to dive into the great wealth of material and perform some of the most memorable scenes that fully demonstrate the breadth of Shakespeare's work. We watched the comedy of Midsummer Night's Dream, the drama of the Merchant of Venice, the passion of Romeo and Juliet and the characterisation of Falstaff. All parts brilliantly played by actors filled with enthusiasm for the work.
. . . While the history may not be 100% factual it does give you a very good idea of what London was like at the end of the 1500s, whether it is the theatres' dual use for hangings, the threat of disease or the ever present threat of politics and religion on the arts . . .
It is apt that this play should be performed at the Old Blue Last which is built approximately where The Curtain theatre once stood and the plays performed. We now await the sequel where Shakespeare ups and moves to The Globe to set up his new play house where he would continue his highly acclaimed work"
Graham Trefler
REMOTE GOAT Aug 2008 (4 star)
“Surely Shakespeare has never been portrayed as so utterly lost as by Matt Wade. His Will wanders the mean 16th century streets of Shoreditch, narrating his past and future plans, dodging hookers, and searching for a job in theatre. (Lights of London) and Director Wendy Richardson promise a physical production that covers Shakespeare's life - persecution, censorship, the plague, Elizabethan court - and offers some light relief . . . in the space of an hour, they deliver a series of vignettes portraying the friendship between Will and fellow playwright Christopher Marlowe; their complicated relationship with the Earl of Southampton; and Will's entanglement with 'The Dark Lady' and his own family.
Scenes of violence are rendered with grim relish; plague deaths, murders, swordfights and torture . . . extracts from Shakespeare are thoughtfully chosen and performed with an energy and timing that suggest the company could carry off a full production of their own. You can catch the show at The Old Blue Last, pretty much on the site of James Burbage’s Curtain Theatre, where a young Will arrived looking for a job all those years ago”
Kate Gibney
HACKNEY TODAY Aug 2008
“Hackney Empire celebrates its fourth annual Spice Festival with a colossal amount of new theatre, music, art and everything in-between. Amidst the colourful program you will find Mr William Shakespeare himself, narrating his very own theatrical story.
... for an audience member who is not too familiar with the works of William Shakespeare, played enthusiastically by Matthew Wade, this production offers a comprehensive portrait of the young man who leaves his wife and children in Stratford upon Avon to seek fame and fortune in London.
Back in the sixteenth century there was only one place for something as disrespectable as theatre to exist, that place was Shoreditch. On Curtain Road stood James Burbage’s Theatre, built with his very own hands. By the time Shakespeare arrived it was already showing the works of Christopher Marlowe.
Shakespeare's talents went unnoticed while he worked in the theatre stables, looking after the horses and acting as prompt on Marlowe's scripts, until Marlowe, (Matt Gardner), took a risk on the young poet . . . When James Burbage (Michael McEvoy) dies there is a wonderful sense of romanticism as Shakespeare and the other players commit themselves to taking down the theatre and rebuilding it anew. This new building would become the Globe Theatre.
... the script was very cleverly intertwined with facts and content from some of Shakespeare's most popular plays, (The Taming of a Shrew, Romeo and Juliet, A Midsummer Night Dream) ... it is an informative and enjoyable production with a completely competent troupe of actors,.. a well rehearsed and prepared company”
Lennie Varvarides
THE SHOREDITCH MAP Jul 2008