"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 'Tale' of Two Halves

The Good Review of The Winter's Tale was only lukewarm, giving it three stars and struggling with the plays contrast in styles. John Dougall, Karl Davies, Vince Leigh, Tony Bell and Richard Dempsey all stood out for their performances in a production that was "richly cast with some ingenious moments."

WhatsOnStage also gives it three stars, heaping praise on the darker tones of Sicilia where "the use of minimal props and scenery is superb, while the sound design verges on genius" and shows "superb" acting from Vince Leigh and Robert Hands, pointing to how the latter "ensures that Leontes' all-consuming jealousy never descends into psychopathic rage." Bohemia fares less well, despite a "superb comic turn" from Karl Davies.

Inquire, too, had trouble reconciling the two tones, also preferring Sicilia and feeling the comedy was pushed too hard in Bohemia at times. The acting, though, was "solid, with the two king’s [Robert Hands and Nicholas Asbury] in particular delivering their emotionally charged lines with calculated finesse."

Marlborough People focuses its quick blurb on the plot, but is more free with praise calling it an "exciting" production where "acting is superb and the cast make Shakespeare look effortless."

Whats on the Fringe gave the production four stars, summarizing the plot and calling attention to specific moments like the sheep and Sicilia's soundscape.. While there was some difficulty with the language, Vince Leigh and Nicholas Asbury were commended for marrying performance and speech and Karl Davies, John Dougall and Tony Bell were praised for their comedic performances.  [e]

"A raucous story of regret and retribution"

The Bardathon's Pete Kirwan gives The Winter's Tale a detailed and thoughtful review that praises the production's dark tones. Foregrounding Mamillius' role in the production, Kirwan traced Leontes psychological journey through the trial. Richard Dempsey, John Dougall and Tony Bell's performances as the production's beats are traced through to the chilling conclusion.

In contrast, WhatsOnStage.com feels "where the production comes into its own is the fourth act" in its four star review. Vince Leigh's Paulina is "suitably defiant" and Tony Bell is "brilliant" and the review concludes"the contrast with the sleek Sicilia gets a little too ridiculous at times, but perhaps this is the solution to the problem of the play - if it doesn’t go together at least we can have a bit of fun.

Forge Today thinks "[t]he nature of a problem play gives Propeller the opportunity to create an exuberant, physical production mixed with an undulating, poetic sense of doom" and "the all-male cast serves to enhance the original potency and poetry of Shakespeare’s descriptions." Robert Hands is "quietly pitiable," Vince Leigh is "charming and chic" and Ben Allen is "uncanny" as Mamillius and "believably resplendent" as Perdita.  [e]

Blog Reviews for The Winter's Tale

Boycotting Trends calls The Winter's Tale a "hugely entertaining production." Robert Hands, Richard Dempsey, Vince Leigh, John Dougall, Karl Davies and Tony Bell all give great performances and "for all the inventive conceits it’s the heart-wrenching, exquisitely judged ending that haunts the most, and that lifts a very good production into true greatness."

One More Dawn calls the production "both touching and humorous," similarly praising Robert Hands, Richard Dempsey, Karl Davies and Tony Bell and concluding "the play contained a balance of comedy and tragedy as it emphasized the dichotomy of emotion in each scene and made it more captivating and enjoyable."  [e]

"No holds barred"

Donald Hollins of The Gazette calls Henry V "the most rumbustious" production he's ever seen. Dugald Bruce-Lockhart grows to "dominate the stage" and Tony Bell and John Dougall are "striking" and "suitably dignified," respectively.  [e]

"Brilliant."

The Stage praises Henry V, calling the production "fresh and lively," and going on to say "But the rigour of movement and speech is irresistible - the RSC seems flat-footed and thick of tongue in comparison." Dugald Bruce-Lockhart presents a "febrile, thoughtful Harry," and John Dougall, Karl Davies and Gunnar Cauthery also receive "bouquets" for their performances.  [e]

"Full of invention, wit and humour"

GScene says Henry V "easily rates among the best Shakespeare [the reviewer] has seen." The review concentrates on the plot of the play and the themes of war, but John Dougall, Gunnar Cauthery and Karl Davies are all lauded for their performances.

The Argus identifies the production as firmly drawing on Propeller's established style and says :

This is Shakespeare at its most accessible, full of invention, wit and humour. What sets Propeller apart from other radical re-interpretations of Shakespeare is that the actors speak with clarity and the verse is treated with respect. 

It’s not classic Shakespeare but it’s a thoroughly entertaining take on the play and well worth catching before the run finishes.

[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]

Killing Doubts

Marlborough People was skeptical of the Propeller hype, but converted after seeing Richard III. Richard Clothier, Dominic Tighe, Tony Bell, Sam Swainsbury, Richard Frame and John Dougall were all mentioned as standouts in a cast with "no weak links."

(reposted on the author's blog)

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.

Fresh as New Paint

DigYorskhire.com raves about both Richard III and Comedy of Errors in a review that praises the company for their "combination of imaginative direction, playful touches and fine acting." While the ensemble work is given special mention, Richard Clothier and John Dougall's performances in Richard  and Tony Bell's turn in Comedy are given particular notice, the conclusion being this is a group that can make "the plays gallop along and the verse feels as fresh as new paint."

Richard Slays Critics

The Public Reviews calls Richard III "a first class and imaginative production," crediting Richard Clothier with "a truly powerful performance."

Meanwhile, WhatsOnStage.com gives the performance four stars, hailing John Dougall and Jon Trenchard for splendid work in their scenes, calling Richard Clothier 'persuasive and often compelling,' and making mention of Tony Bell's Queen Margaret/rapping citizen double act.

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.'