Joe Hill-Gibbons production for the Young Vic is a healthy measure of comedy, darkness and inventiveness
Joe Hill-Gibbons Young Vic production, meanwhile, tears up the parchment and thrusts the play’s darker, murkier themes in our faces. The play opens with the characters crawling out from under a pile of inflatable dolls, complete with comedy appendages that are both crude and funny. They get thrown around and kicked about, but hang around the stage for the duration, a constant visual gag and a reminder of Vienna’s (and probably our own) grubbiness. They should have had their own curtain call.
Like the Globe’s, this production manages to be lots of fun, but Hill-Gibbons keeps the murky world of political corruption and sexual power and abuse at the heart of this black comedy. Shakespeare’s bawdier bits are helpfully illustrated with well know gestures, verbal stresses and visual – comically graphic – graphics. At just under two hours, the text has been slashed by dramaturg Zoë Svendsen along with some of the characters (Mistress Overdone is undone – I didn’t miss her). This makes it a far neater story and Isabella’s virginity, and the men (Angelo and the Duke) desperately grabbing at it, is given a keener edge. Romola Garai plays Isabella at full pelt. She’s VERY angry, there is none of the meek novice nun about her and there is no faux happy ending for Garai’s Isabella, it’s made clear she still pays a price for freeing her brother.
Music plays a central role, although forget about any lutes. There constant hum of haunting music which crescendos at key points adds suspense even if at times it seemed intrusive. And the fact that Mariana – the woman Duke-stand-in Angelo stood-up after her dowry, along with her brother, was lost at sea – is an Alanis Morissette fans seems important, if rather an oddly dated reference.
We see some of the action through a video feed as the characters move ‘backstage’ to an industrial concrete space that doubles as a prison. Sometimes we see the characters on stage and on the screen, the jittery camera work adding a layer of menace and claustrophobia.
All this clever staging does at times threaten to upstage the actors, and, occasionally it does (I was completely distracted during Duke Vincentio’s speech as he prepared to return from his undercover friar mission because of the kaleidoscope of inflatable dolls’s bits and bobs behind him) but mostly the actors win. Zoning Varla plays the Duke with real gravitas until the end when he returns and seems to unravel under the strain of his odd decisions – he’s along way from Dominic Rowan’s loveable, jovial leader. Paul Ready’s Angelo is a nervy civil servant, creepy and officious while John Mackay as Pompey had a suitable sly menace to him beneath his comedy posturing. And, Garai, Garai is great although I would have enjoyed a little more light and shade in her furious Isabella.
Inventive and sexually charged, this production still had Shakespeare at its core and is as bold and absorbing as his works, done at their best, should be.