The Crucible.
Reviewer – Phill James.
Shakespeare’s famous and enthralling psychological drama is being performed at the Crucible for the very first time and it is a production worthy of its 40-year anniversary. Much has been spoken about the casting coup which sees Clarke Peters and Dominic West spar off in the lead roles, but the first thing you notice about this production is just how good it looks and feels.
Director Daniel Evans, ably assisted by Morgan Large and Lucy Carter in the design and lighting department, has carved a wonderfully traditional version of the play that still manages to feel fresh and original. Thunder roars, the stage illuminates and, in one marvellous moment, bed sheets fall from the sky like snowflakes to the gasps of an enthusiastic crowd.
Most people have come to see Peters and West and whilst it’s fantastic to see the theatre packed to the rafters, there is a part of me that wishes that non star-studded productions could get such a rich treatment from the viewing public. Still, why quibble when you get to see Shakespeare on a stage like this, performed with this much gusto.
Clarke Peters embodies his Othello with stirring emotions, prowling around the stage like a lion. He gives us a compelling hero and, whilst some of his latter speeches struggle for clarity, his performance is well worth the investment. West, however, is a mixed bag. His Yorkshire accent works perfectly at creating trust in the character and he plays the rowdier, more humorous scenes to a tee. He never seems as comfortable when he has the stage to himself though, sometimes rushing his lines with wild abandon as if desperate to get to the next interaction. In fairness, he is obviously having a ball and he bounces off his co-stars and the audience like a child on Christmas Day. Indeed, it is refreshing to see a play performed by a cast who are so clearly enjoying themselves as much as this.
But the real plaudits must go to the supporting females. Lilly James wrings every drop of emotion possible from a typically thankless Shakespearean role. Her penultimate scene as she is undressed by Emila in preparation for bed is moving, tragic and deeply haunting. She is topped though by her co-star Alexandra Gilbreath, who dominates the superior second act and in doing so steals the play from her more famous fellows. Her Emila is cynical, intelligent and deeply loyal; her unravelling in the final scene is a triumph worthy of any version of this tragic play.
40 years since its opening, there remain few theatres that can create such a compelling atmosphere as the Crucible. This is a thoroughly entertaining version of Othello that races through its three-hour running time. Whether you’ve come for the stars, the sets or the play itself, it is unlikely that you will leave disappointed.
Othello runs at the Crucible until 15th October 2011
