Talking Movies

December 9, 2013

Macbeth Needs Your Money!

Do you want to fund an attempt to recreate the atmosphere of a production of Macbeth in Shakespeare’s Globe in Smock Alley? Then click on this link,http://fundit.ie/project/macbeth-1, and take your own tiny step towards being Geoffrey Rush in Shakespeare in Love – “Who are you?” “Ah, well, I’m the money”…

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For two weeks in January theatre troupe Fast Intent will convert the atmospheric Smock Alley Boys School space into a traditional Elizabethan Playhouse, a theatre of the type that Shakespeare himself would have recognised. In this heaving indoor cauldron; complete with Shakespeare’s favourite trouble-makers, rowdy groundlings who stand rather than sit because their tickets cost so little; they will present one of Shakespeare’s greatest and most thrilling plays – the brilliantly bloody Macbeth. Taking inspiration from research into Elizabethan and Jacobean staging practices they promise an engaging, thrilling experience, full of blood and guts, swords and shields, raucous crowds and high drama. Playing the power couple to avoid like the plague in medieval Scotland are Gerard Adlum (as Macbeth) and Jennifer Laverty (as Lady M), who both greatly impressed in previous Fast Intent production The Lark. Finbarr Doyle is the vengeful MacDuff, and the ensemble includes Patrick Doyle (fresh from his brilliant Harker in Fast Intent’s recent Dracula), Katie McCann, Conor Marren, Kyle Hixon,Claire Jenkins, and Jamie Hallahan. The set design is by Cait Corkery, and other crew members include Carol Conway and Caoimhe Murphy.

So why fund Macbeth? Star Gerard Adlum explains the appeal of the Thane thus: “He may not have Hamlet’s education, or Richard II’s eloquence, but Macbeth has a dextrous grasp of language and expresses himself with the ease of a poet, though his thoughts are never easy. Left to his own devices he deals in metaphors and similes, as if he desperately needs the audience to know that he is not a thug, not a brute. The challenge for the actor is not to prove his strength but to reveal his innate vulnerability.” For Adlum Macbeth’s key line of self-justification is ‘Things bad begun make strong themselves by ill’ – “This is the unfortunate logic that drives him on; two wrongs will eventually make a right.” Director Keith Thompson, a sometime co-writer and co-director hereabouts, has previously helmed productions of Richard III and Hamlet; the former starring Adlum as Buckingham. “I have wanted to direct Macbeth for years. It is both incredibly simple and complex. Complex in that it seems to cram into two hours the entire gamut of human emotions: love, hope, fear, desire, greed, guilt, loss. At the same time its speed and simplicity means there is no time to stop and think. Everything is truly experienced in the moment. It lends itself to constant re-interpretation, having something to say for each and every generation. It is human, raw and very, very messy.” Thompson finds Lady MacDuff’s line ‘but I remember I am in this earthly world where to do harm is often laudable, to do good sometime accounted dangerous folly’ “incredibly relevant to the world we are currently living in, where apathy is our common discourse and greed often not just considered lawful, but admirable. It shows that though this may have always been the case, there are always people who will identify it and struggle against it.”

So, that’s what they have to say. So why do I say to you fund Macbeth? Well, I’ve already thrown money at it because this is Fast Intent doing Macbeth. Fast Intent consistently pare back plays to their bare bones, and focus the audience’s energy onto the performances and the text. When it worked with Dracula it brought Stoker’s best prose to vivid, sensuous life. In The Lark it aided Anouilh’s theological ideas to sparkle across the stage, with real emotions grounding them in reality. And this is a cast that has proven itself at Shakespeare at a young age. While still in college Finbarr Doyle played Richard III with gleeful malevolence, Patrick Doyle played Macbeth with striking originality as distracted by visions, and Gerard Adlum played Lear with a startling maturity for such a young actor. But having a great cast is only one competent here. The key to successfully staging Shakespeare is not being afraid to cut his words. Reverence before his text too often is simply fear and trembling before the Bard rather than awe; and the result is a slow untheatrical death. But you need to have a confidence bordering on chutzpah to do the needful sometimes and meddle with the sacred scriptures. Keith Thompson, directing Hamlet in 2012, cut Polonius’ advice to Laertes, in its entirety, because he wanted a more serious Polonius. So, yeah, he has the confidence to pull this off bustling take…

Fast Intent’s goal is to raise €3,500, which will cover about half of the production costs; including costumes and hiring the venue – Smock Alley’s Boys School. The other half of the budget will consist of sponsorship from local businesses and by hosting various fundraising events. The contribution of Fundit donors is thus vital to the successful realisation of Macbeth. Fast Intent was established in 2011 by Sarah Finlay, Ger Adlum, Nessa Matthews and Keith Thompson. Their theatrical work to date has included acclaimed productions of Harold Pinter’s Ashes to Ashes (The Complex), Family Voices and One for the Road (both New Theatre) and The Lark by Jean Anouilh (Smock Alley). 2013 has seen them producing an entire body of work for Dublin Castle’s cultural programme, including historical monologue pieces for Culture Night, an adaptation of Dracula for the Bram Stoker Festival and the just gone Christmas show, Shakespeare by Candlelight. Rewards for funding at various levels are set out on the website, where the company also expresses its desire to have you asone of their “dearest partners of greatness”.

Go on, dream of sound and fury, and click http://fundit.ie/project/macbeth-1

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September 21, 2009

Creation

A biopic of Charles Darwin that a creationist and Dawkins could go see and both happily leave halfway thru, agreeing that something so boring and utterly wretched wasn’t worth arguing over.

Creation opens with a caption proclaiming Darwin’s idea to be the single greatest in the history of thought, and then, for 109 minutes, casts doubt on whether cinema can communicate ideas at all. Creation is the worst of a biopic sub-genre (Shakespeare in Love, A Beautiful Mind) where great works are reduced to inanity by focusing not on the work, but, to paraphrase Creation’s captions, how the person came to write that work. You would think Darwin came to write his work by years of painstaking research, the formulation of a revolutionary hypothesis, and then months of hard graft writing up his findings by hand – but no! Darwin wrote his work addled on laudanum and guided by conversations with his dead daughter.  This conceit, like the flashbacks to his daughter’s life, is at first preposterous, then annoying, and finally unbearable.

The always capable Paul Bettany, bald but eschewing the beard of popular imagination, seems to be playing his own greatest hits. Darwin is a laudanum fiend and naturalist, like Bettany’s character in Master & Commander, who writes his great idea due to conversations with people who aren’t there, just as Bettany inspired Russell Crowe in A Beautiful Mind. Jennifer Connelly as Darwin’s religious wife is under-served by the script, although she and Bettany shine in the best scene of the film when they finally confront the possibility that their daughter’s poor health was because they married, despite being first cousins. Connelly’s character though is under-served because she is religious and this is a fatal weakness.

If you want true dramatic conflict you must give each character in an argument the possibility of winning or the scene is predetermined and therefore pointless. This holds even ethically – witness the astonishing scene in Sophie Scholl where Sophie is questioned for her anti-Nazia propagandising by a Gestapo officer in an intellectual debate in which every point Sophie makes is eloquently contradicted by him, and he makes points she can’t refute: the scene positively hums with dramatic tension even though he represents genocidal evil. In Creation poor Jeremy Northam as Reverend Innes is given dialogue which is comically bone-headed – his preaching on Genesis’ most absurd passages drives Darwin to walk out of service, while his approach to bereavement counselling for the Darwins involves endless references to God’s wise plan. This loading of the dice dramatically makes these scenes deeply idiotic, and matters are not helped by TH Huxley (Toby Jones appearing for five minutes) being more Dawkins than Huxley in his startling belligerence. Indeed his effect on Darwin in the film leads Innes to deliver his only good line, “I had always regarded you as one of those rare mortals with whom it is possible to disagree without a shade of animosity. I see that is no longer true”.

Evolution is, as Thomas Jefferson might have put it, a self-evident truth, but writers John Collee and Jon Amiel seem to think it so specious that they need a straw-man construction of religion. Ignore this bizarre farrago and instead try to watch the two BBC documentaries Darwin by David Attenborough and Did Darwin Kill God?

1/5

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