"It's everything you want Shakespeare to be"

There Ought to Be Clowns recently made the annual pilgrimage to Guilford to catch Twelfth Night. In a thoughtful review that trumpets the success of the ensemble as the true defining feature over the company, rather than their single-gender status, the final verdict was that the production "it's funny, it's sexy, it's moving [...] it's everything you want Shakespeare to be."

The Guilford Dragon agrees, saying Propeller "has once again managed to bring sophistication, modernisation and sheer genius to its production of this Shakespeare classic." Special attention is paid to the use of the ensemble in the box tree scene and Chris Myles' performance as Malvolio is "brilliant."

Emily Gorton expected an all-male cast to signal a traditional approach, but instead found "the imaginative use of space, accompanying music created by the actors on stage and an unreserved amount of nudity gave the piece new edge." Ben Allen and Gary Shelford are both mentioned for the "mastery" of their performances and the review tracks how the juxtapositions of light and dark are woven through the show.

The Public Reviews gave the production five stars, pointing to the enthusiastic response of a younger audience, lingering on the opening moments, and again praising Ben Allen (in "important earrings") and Gary Shelford's performances as Olivia and Maria.

ReviewsGate calls it "one of the best 'Twelfth Nights' [...] seen in recent years", praising the performances of Joseph Chance, Gary Shelford, Christopher Heyward, Liam O'Brien, Vincent Leigh, John Dougall and Chris Myles.

The British Theatre Guide sums up the production as "most wonderful." Like some of the others, the opening impression of the set and production atmosphere is discussed along with a number of highlighted performances, particularly Ben Allen, Gary Shelford and Joseph Chance.

The review on EastHampshire.org has nothing but glowing praise for all aspects of the productions, explaining how the fluidity of the scenic design, the music, the chorus, the use of physicality and a number of excellent performances such as Ben Allen, Gary Shelford, Vincent Leigh, John Dougall and Chris Myles all came together to give the production "a perfect balance" of theatricality and nuance.

And, finally, WhatsOnStage.com' five star review finds the ensemble "sparks and fizzes with each other as though it's playing with electricity," never shying away from the play's darker elements as it still maintains the comedy (a combination exemplified in Vincent Leigh's "sterling" performance as Sir Toby Belch).  [e]

A Little More

Here is a second version, slightly more fleshed out, of Jane Howard's review from yesterday.

And if you want to learn a little more about company stalwart Chris Myles, here is the question and answer session he did with The Coventry Telegraph.  [e]

Enchanting and Enthralling

One Stop Arts makes it's feeling known right from the top: "Propeller are one of the most exciting companies around, and their approach to Shakespeare is exactly what the industry needs." The four-star review of The Winter's Tale calls Tony Bell "hilariously lecherous," Robert Hands' performance is "inspired," Chris Myles "completely owns the part of Camillo" and Vince Leigh is "full of gravitas as Paulina."

Journal Live was slightly disappointed when the show came to Newcastle, but The Shields Gazette caught the same leg of the tour found it "enchanting and enthralling."

Between the Acts offers a short reflection on the cross-dressing of Propeller's Winter's Tale and links to a more lengthy discussion of the effective disconnect achieved between actor and character when men play women.  [e]

Storytellers

Boycotting Trends' great interview with Chris Myles covers a wide range of topics including Propeller's social aspects, the all-male casting, touring and the subtle connections between the current productions of Henry V and The Winter's Tale.  [e]

"A rousing and entertaining production"

View from a Bum finds Henry V to be "vibrant and affecting" as "a war story showing not just the high and mighty, but also the common men from all walks of life." The performances of Dugald Bruce-Lockhart, Chris Myles and Karl Davies are all lauded and the review touches on the use of music and the Chorus, lingering on the production's final moments as a parallel for contemporary issues.  [e]

Catch-up

Getting to some older posts...

From Australia, The Spectator takes a look at both productions and how they hold up under single-gender casting. The Winter's Tale poses some reservations, but

On the other hand, the final scene, one of the most difficult and most moving things in the whole of Shakespeare, is beyond praise. Ed Hall articulates it flawlessly with great stillness and sweeping surprise and depth of feeling. It reminds us that, whatever its flaws, Propeller has an empathy for Shakespeare that carries it across gulfs and up mountains.

Furthermore, "The Propeller Henry V is finer still and the production exhibits a ruthless brilliance of conception that is utterly consistent with the masculine prowess and muscle of this supremely warlike play, drenched in glamour and blood."

Writing for his blog, David Zampatti calls Henry V "the best Henry V I'm ever likely to see." Dugald Bruce-Lockhart " looks and sounds like he was born to throw himself headlong at an enemy, and that’s what his men, and we, react to" and he is "s surrounded by actors made for their parts. Chris Myles and Dominic Thorburn, Exeter and Westmoreland, look, sound and feel like men who command divisions, Nicholas Asbury, as Mountjoy the French Herald, a man who stands for his liege. As Fluellen, Tony Bell is as charismatic and shifty as was his Autolycus in the Winter's Tale."

As for The Winter's Tale, it is "a gorgeous looking, beautifully spoken and often riotously staged production." Robert Hands offers an "outstanding Leontes [who] raves in his magnificent derangement" and Tony Bell is "as appealing and appalling a rogue as Shakespeare ever slid onto a stage." Even so, the call for female actors is once again sounded.

Before they got to New Zealand, Stuff had a chat with Ed Hall on the settings of the plays, how both address questions of honour and (of course) a bit about the all-male aspect.

This Is Kent previews Propeller's arrival in Canterbury this past weekend.

Reviewing for The Telegraph, Dominic Cavendish muses that "while the lusty commitment of this band of brothers isn’t in doubt, the value of the project, in its current gender-biased form, perhaps is." Even with that, Henry V picks up four stars and The Winter's Tale three, while the focus remains firmly on the value of an all-male company.  [e]

"An intelligent and moving production"

The Public Reviews gives The Winter's Tale four stars, praising Robert Hands, Richard Dempsey, Ben Allen and Chris Myles in their roles, remarking that "[t]he audience sparkled with delight and audibly gasped as they interacted with the players who so obviously love their art."  [e]

Breaking Down Barriers

Blogger Chis Poppe's review of Henry V concentrates on the various ways Propeller breaks down barriers between the on-stage action and the audience, highlighting the music and portrayal of violence in particular. Chris Myles, Nick Asbury, Karl Davies and Gunnar Cauthery "hit exactly the right note[s]" in their respective performances. As Henry, Dugald Bruce-Lockhart was "perfectly cast" for the wooing of Katherine and "extremely convincing" in his portrayal of a "magnanimous victor" and "a very noble king, keen to hear the names of the fallen in battle and that their names should be given due reverence. His refined bearing helped enormously in giving the impression of fairness in battle, and decency in triumph."  [e]

"Thrilling and truly moving"

The Public Reviews returns to Henry V, catching the "thrilling and truly moving" production at Milton Keynes. Dugald Bruce-Lockhart, Tony Bell, Chris Myles, Karl Davies and Gunnar Cauthery all had elements of their performances highlighted, while the design, music and approach to text all garnered praise.  [e]

"An Absolute Theatrical Masterpiece"

WhatsOnStage.com gives Henry V five stars in its glowing review that call sit a "superb production" by a "brilliant company." Dugald Bruce-Lockhart, Tony Bell, Chris Myles and Karl Davies are mentioned, as well as the design work of Michale Pavelka, Ben Ormerod and David Gregory and the text editing of Roger Warren.

No less enthusiastic, Mid Sussex Times calls Henry V "[m]agnificent, funny and deeply moving," highlighting each aspect of the production that came together to make it "wondeful, wonderfu, wonderful."  [e]

"Amazing, inventive and compelling"

West Sussex County Times is glowing in its praise for Henry, saying "the Propeller theatre company manages masterstroke after masterstroke, cramming outstanding performances, dynamic vision, and imaginative genius into 'this wooden O.'" Michael Pavelka's design, the use of music (both borrowed and the original pieces of Nick Asbury and Gunnar Cauthery) and performances by Chris Myles, Karl Davies, Gunnar Cauthery, John Dougall, Tony Bell and Finn Hanlon are all praised, while Dugald Bruce-Lockhart's portrayal of Henry "underlines the complex nature of the character."

The Public Reviews and revisits the production, coming away from Brighton with the opinion Propeller offers "one of the boldest and freshest approaches to Shakespeare that can be found on this country’s stages." There are quibbles with some of the delivery choices of the text, specifically Dugald Bruce-Lockhart's treatment of the the rousing battle speeches, but he is "concinving and moving when he unveils his human side." Gunnar Cauthery and Karl Davies recieve standout mention in a reviews that lauds the ensemble nature of the piece.

Sussex Express calls the production "a stunning visual, aural and emotional experience," considering the lessons imparted on war and the characteristics of leaders. While the reviewer admits it's difficult to single out individuals, Dugald Bruce-Lockhart, Tony Bell, John Dougall, Chris Myles, Finn Hanlon, Gary Shelford and Vince Leigh were all mentioned by name.  [e]

Dispatches from Guildford

Some more reviews of Henry V have been trickling in from their stint at the Yvonne Arnaud:

Boycotting Trends was slightly disappointed Henry V didn't quite live up to some of Propeller's previous work, but still found the evening enjoyable with fine performances from Gunnar Cauthery, Vince Leigh, Robert Hands, Tony Bell, Karl Davies and Chris Myles. Dugald Bruce-Lockhart's Henry V garnered a mixed reaction, but had a number of moments singled out for their strength.

The Public Reviews' take is almost identical, citing high expectations born from Richard III and experiencing slight disappointment overall, but enjoying the same performances and giving the production four stars. The one addition is a feeling the use of music, while effective, is also a bit schizophrenic

The British Theatre Guide has no reservations, though, summing up its thoughts on the productions as being "[p]erformed with energy, expertise, enthusiasm, effort and endless rehearsal—excellent." Tony Bell, Gunnar Cauthery and Karl Davies again get mentions while Dugald Bruce-Lokchart brings Henry to "vivid life."  [e]

Michigan and Coming Home

Propeller will be coming home soon, both to England and to their old residence at the Watermill Theatre. Lyn Gardner highlights the return in her What to See column.

AnnArbor.com is as smitten with Comedy of Errors as it was with Richard III, focusing on the music, the energy and the strong performances from a "terrific" cast.

The Detroit News found Richard III "riveting" and had special praise for Richard Clothier, John Dougall and Chris Myles' performances.

The UMS Lobby has a score of blog posts from Propeller's stay, all collected here for easy perusal.

Riveting

That's the word used by The Oxford Times to describe Richard III, also mentioning the "excellent" performances of Chris Myles and Thomas Padden, Jon Trenchard's "touching" Lady Anne and Dominic Tighe's "regal and vehement" Elizabeth.

The Public Reviews gives the production three and half stars, saying "Propeller manage to make a long winded history play more accessible without losing the wonderful language of Shakespeare; and for that they should be heartily commended."

Writings of a Pensive Observer thinks Richard III continues Propeller's tradition of making Shakespeare "accessible, enjoyable and relevant," calling Richard Clothier's performance "a joy to watch" and pointing to Tony Bell's Queen Margaret as another highlight of the show.

Diary of a Gossip: The truth about Chris Myles and the best legs in showbiz

Tony Bell will be keeping a blog during Richard III and Comedy of Errors, sharing personal insights into his experiences with the tour. Entries will be posted on the home page, as well as collected in links under the 'Tour Diary' tab.

“The truth about Chris Myles and the best legs in showbiz”
Week Seven, Coventry (with a bit of Norwich)

Two blogs ago I wrote about living with the Abbess in Coventry – not the Cathedral you understand, and not the real Abbess, but a terrace with a camp bed, and the cross-dressing icon, Councillor Kennedy, formerly known as Chris Myles. I’d like to move on to Norwich now, but I can’t yet because I left a bit of my heart behind with Chris, (as well as a Pilates DVD and a rainbow sock from Help the Aged).

More Raves Coming In

The Telegraph gives both Richard and Comedy five stars, bemoaning there is too much in the productions for the review to do them justice (Richard in particular).

Financial Times is a little more reserved, with three stars for Comedy and four for Richard, but points out the dual performances of Richard Clothier, Tony Bell, Robert Hands and Chris Myles.

The Stage calls Comedy "a fast and funny evening," and says of Richard "for young audiences, I can’t imagine a more exciting introduction to our greatest dramatist." Dominic Tighe, Jon Trenchard and Tony Bell are praised for their portrayals of Richard's grieving queens.

Richard III in Sheffield

The British Theatre Guide revisits Richard III, this time finding the production a bit too busy. Nonetheless, Jon Trenchard, Tony Bell, John Dougall and Chris Myles all receive mention for their performances, as do Sam Swainsbury and Richard Frame for providing 'welcome light relief' and the music was 'a delight.'

School Days

The Richard III education pack includes a discussion of Richard's physicality, interviews with Ed Hall, Michael Pavelka and Chris Myles and a scene exercise, as well as some other goodies for those trying to teach (or simply learn more about) the play.

Initial Thoughts on Richard III

While official press reactions will take awhile to trickle in, the blog reactions from this past weekend's performances of Richard III have already started cropping up.

To begin with, Dan Hutton was surprised at how much humor the company managed to find in the text and was dead on in observing "the tone of this production is pitched perfectly, being a cross between macabre and often close to music-hall, but we are left questioning whether or not we were supposed to be laughing all along." Special commendations were given to Chris Myles, Thomas Padden and Richard Clothier for their fine performances.

The Warwick Diaries chose to focus more on the place of religion in the play, though the humor was commented on at the top of the review. Lots of great detail regarding stage business and the themes of the show.

Two Sides of the Coin

To be frank, I'm still a little taken aback after reading John Simon's absolutely scathing review of Merchant from Bloomberg.com.

To wash that sour taste from your mouth, here's a bit from Kingston, where the "ladies" got some love from Michael Coveney for WhatsOnStage.com, with Jon Trenchard's "splendid" Jessica and Kelsey Brookfield and Chris Myles' "excellent" Portia and Nerissa getting recognized in a review that praises the "wonderful simplicity" of the piece.

And in a review from The Independent, Coveney praises it further, calling it an "inspired, intelligent revival."