'Pericles, Prince of Tyre' is one of Shakespeare's last plays and also one of his least famous, more with it to do in my mind that it is problematic to stage. Although the play is nowhere near top-tier Shakespeare, with a story that can be sprawling and over-plotted and the second half is better than the first, do feel personally that it is deserving of a better reputation. It does have a lot of interesting elements and characters and their relationships, and the text and themes are distinctive Shakespeare.
Stratford's 2016 production is excellent, even better than the 80s BBC Television Shakespeare production (which is one of the best and most underrated of that series, did notice that some of that series' productions of the Bard's lesser in quality or less well known plays were better than some of the productions of the most famous ones). Like 2015's 'King John', it is a great way of getting acquainted with the play if not familiar, and is done in an accessible while still being tasteful way. Doing so while having more than enough to please those already familiar, striking the right balance of having its own identity and having enough to set itself apart while staying true to the detail and spirit of the play.
Admittedly, some of the drama in the first half is a little sprawling, but quite a lot of that is down to the play itself.
However, a lot is great here. First and foremost, the costumes and sets are truly lavish and the special effects are some of the best of any Shakespeare productions from, or seen in, recent years. The music is also beautiful and fits the atmosphere and period adeptly, authenticity not being in question. Loved the intimate but also interactive ambience, it did feel like you were in the venue and witnessing how Shakespeare's plays were performed in his day.
The omission of Gower, a take or leave character dependent on how he's performed, was a good move and it didn't affect the coherence, the drama actually flowed smoother. A great job is done making the story accessible and easy to follow, regardless of prior familiarity with the play, especially in the second half. It is full of both funny (like in the brothel, a scene that is easy to overdo but isn't) and touching (the moving father and daughter reunion).
It, the production that is, is relentless in the entertainment value and the liveliness of the pace but the play's heart is also never forgotten. If it had been, the father and daughter relationship and reunion scene would not have resonated emotionally as much as it did. The performances are superb, especially Deborah Hay doubling as both Marina and Thaisa. It is difficult enough doing just one of those roles, it's doubly difficult when it's both and when they're so contrasting and Hay made it look easy.
Overall, truly great. 9/10.
Stratford's 2016 production is excellent, even better than the 80s BBC Television Shakespeare production (which is one of the best and most underrated of that series, did notice that some of that series' productions of the Bard's lesser in quality or less well known plays were better than some of the productions of the most famous ones). Like 2015's 'King John', it is a great way of getting acquainted with the play if not familiar, and is done in an accessible while still being tasteful way. Doing so while having more than enough to please those already familiar, striking the right balance of having its own identity and having enough to set itself apart while staying true to the detail and spirit of the play.
Admittedly, some of the drama in the first half is a little sprawling, but quite a lot of that is down to the play itself.
However, a lot is great here. First and foremost, the costumes and sets are truly lavish and the special effects are some of the best of any Shakespeare productions from, or seen in, recent years. The music is also beautiful and fits the atmosphere and period adeptly, authenticity not being in question. Loved the intimate but also interactive ambience, it did feel like you were in the venue and witnessing how Shakespeare's plays were performed in his day.
The omission of Gower, a take or leave character dependent on how he's performed, was a good move and it didn't affect the coherence, the drama actually flowed smoother. A great job is done making the story accessible and easy to follow, regardless of prior familiarity with the play, especially in the second half. It is full of both funny (like in the brothel, a scene that is easy to overdo but isn't) and touching (the moving father and daughter reunion).
It, the production that is, is relentless in the entertainment value and the liveliness of the pace but the play's heart is also never forgotten. If it had been, the father and daughter relationship and reunion scene would not have resonated emotionally as much as it did. The performances are superb, especially Deborah Hay doubling as both Marina and Thaisa. It is difficult enough doing just one of those roles, it's doubly difficult when it's both and when they're so contrasting and Hay made it look easy.
Overall, truly great. 9/10.
