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The Arts Desk
May 19 2012
Globe to Globe: King John
Armenia's version of Shakespeare's European war play hits every note - and more
by Tom Birchenough
You might have wondered if, when Armenia was offered King John as part
of the Globe to Globe season, they felt they'd drawn the short straw.
Not a bit of it. Shakespeare's early history play, the action of which
pre-dates those for which he is better known by a century, may be
rarely performed (though there's one from the RSC at Stratford
currently that looks highly contemporised), but here, in what I
suspect is a judiciously trimmed version, it brings out so much that
genuinely crosses international lines, speaking Shakespeare's story
with the local accent of the producing nation.
And Armenia and the Caucasus in general provide such fertile ground
for pondering the same kinds of historical realities that Shakespeare
did. In very recent memory there have been cities, effectively
besieged like Angiers, at the mercy of larger, warring powers. No big
stretch of the imagination to liken Shakespeare's bickering monarchs
to various post-Soviet rulers - the concept of the hereditary
presidency being monarchy in all but name. Memories of the cruelty of
war remain in very many landscapes. Losses have indeed been suffered.
But Tigran Gasparyan's production from Yerevan's Gabriel Sundukyan
National Academic Theatre doesn't labour these points. Shakespeare has
been a key part of its repertoire since its foundation in 1922, and
apparently the bard was a way for the nation (and not only Armenia) to
explore ideas of freedom under Soviet rule. Interesting, that. The
action comes with an approximate costume definition that mixes loosely
Napoleonic war outfits, with a touch of Mad Max, and ruffs where
required. There's still a single sword involved, but all the battle
scenes are done with suitcases.
Yes, suitcases and trunks, plus the odd hold-all. I couldn't find a
designer credit anywhere, so can only assume it is director Gasparyan,
and it works brilliantly. Characters enter one by one at the
beginning, each with their baggage (in the literal and metaphorical
sense), which can be built into an ever-morphing range of visual
effects. It becomes the throne in various different constructions, or
the castle walls from which Artur jumps to his death (the outstanding
Gnel Ulikhanyan, who's jumping from roughly 8ft, not something most
actors have to do). And yes, two sides go to war with suitcases.
When you haven't seen a production in its original staging it's hard
to guess how it's been adapted for Globe presentation, but it works
here outstandingly. The balcony becomes both the walls of Angiers, and
the negotiation scenes between John's party and the European lot. You
have to keep your eyes skinned, as there are plenty of lurking
characters behind the side columns.
https://mail.google.com/mail/?shva=1#compose
May 19 2012
Globe to Globe: King John
Armenia's version of Shakespeare's European war play hits every note - and more
by Tom Birchenough
You might have wondered if, when Armenia was offered King John as part
of the Globe to Globe season, they felt they'd drawn the short straw.
Not a bit of it. Shakespeare's early history play, the action of which
pre-dates those for which he is better known by a century, may be
rarely performed (though there's one from the RSC at Stratford
currently that looks highly contemporised), but here, in what I
suspect is a judiciously trimmed version, it brings out so much that
genuinely crosses international lines, speaking Shakespeare's story
with the local accent of the producing nation.
And Armenia and the Caucasus in general provide such fertile ground
for pondering the same kinds of historical realities that Shakespeare
did. In very recent memory there have been cities, effectively
besieged like Angiers, at the mercy of larger, warring powers. No big
stretch of the imagination to liken Shakespeare's bickering monarchs
to various post-Soviet rulers - the concept of the hereditary
presidency being monarchy in all but name. Memories of the cruelty of
war remain in very many landscapes. Losses have indeed been suffered.
But Tigran Gasparyan's production from Yerevan's Gabriel Sundukyan
National Academic Theatre doesn't labour these points. Shakespeare has
been a key part of its repertoire since its foundation in 1922, and
apparently the bard was a way for the nation (and not only Armenia) to
explore ideas of freedom under Soviet rule. Interesting, that. The
action comes with an approximate costume definition that mixes loosely
Napoleonic war outfits, with a touch of Mad Max, and ruffs where
required. There's still a single sword involved, but all the battle
scenes are done with suitcases.
Yes, suitcases and trunks, plus the odd hold-all. I couldn't find a
designer credit anywhere, so can only assume it is director Gasparyan,
and it works brilliantly. Characters enter one by one at the
beginning, each with their baggage (in the literal and metaphorical
sense), which can be built into an ever-morphing range of visual
effects. It becomes the throne in various different constructions, or
the castle walls from which Artur jumps to his death (the outstanding
Gnel Ulikhanyan, who's jumping from roughly 8ft, not something most
actors have to do). And yes, two sides go to war with suitcases.
When you haven't seen a production in its original staging it's hard
to guess how it's been adapted for Globe presentation, but it works
here outstandingly. The balcony becomes both the walls of Angiers, and
the negotiation scenes between John's party and the European lot. You
have to keep your eyes skinned, as there are plenty of lurking
characters behind the side columns.
https://mail.google.com/mail/?shva=1#compose