Triumphing over twists and turns
THEATRE
KING JOHN
Shakespeare’s Globe, SE1
THERE’S no getting around it: King John is a scrappy old play. There’s good reason why it’s one of the least performed of Shakespeare’s histories, unfolding as it does in a disconcerting cavalcade of sometimes highly improbable — not to mention morally ambiguous — events, which spin around the idea of disputed inheritance. Thankfully, this noteworthy co-production with Northampton’s Royal & Derngate theatre to celebrate the 800th anniversary of Magna Carta, skilfully shapes this whirligig.
Director James Dacre cuts a clean line through the narrative clutter to offer a wonderfully clear and coherent reading with his strippeddown cast of 12. It’s not often that one can — or even wants to — follow every twist and turn as weak King John (an impressively wry and mercurial Jo Stone-Fewings) tries to shore up his embattled kingdom. Dacre offers an assured statement of intent in the delightful first tableau: when John’s coronation is interrupted by a messenger from France, John snatches up his crown and makes a hasty dash for the throne.
The king, an arbitrary chap at the best of times, adopts as his new favourite the Bastard, Philip Faulconbridge (Alex Waldmann), himself not of overly stable disposition. Waldmann, previously a lively Shakespearean performer for the RSC, gives an energetic performance as this curious character and there’s also fine support from Tanya Moodie as an eyes-ablaze Constance, mother of the prime claimant to John’s disputed throne.
The organic integration into the action of Orlando Gough’s stirringly haunting music is yet another plus point. This is a memorable production of a perplexing play.