I am really
excited to be able to report that we are now down to just one Shakespeare play that
we have not seen on stage. That’s Henry VIII still outstanding. The RSC
seems to be including The Two Noble
Kinsmen as having sufficient of Shakespeare’s writing to count, but we
haven’t decided what to do about that, yet.
This weekend
we bagged Cymbeline and Pericles Prince of Tyre. Last summer at
the Globe we decided to check what was going to be on at the Jacobean indoor
theatre during the winter – it’s officially the Sam Wannamaker Playhouse – and were
thrilled to discover that they were putting on a series of Shakespeare’s late
romances.
We saw Cymbeline first and Pericles the next day; we enjoyed Pericles more. They are similar in lots of ways – unlikely plots, amazing
coincidences, people reviving from apparent death, separations, near miraculous
reunions, lost and found daughters – and in changes of tone, from near
pantomime to deeply emotional. But we felt that Pericles was the better production.
The first two acts of Pericles are by George Wilkins, and you can hear
when Shakespeare takes over and the verse suddenly becomes much more flexible. Wilkins
is tum ti tum ti tum.
It was really
interesting seeing how the indoor theatre worked, too. It’s even more
uncomfortable than the Globe, and I shouldn’t think that there’s a single seat
from which you can see all the action all the time. There is a little light
coming in from the windows, but they are in the corridor round the actual
theatre space, and so it’s not much, especially in winter, and there are
shutters if they want to completely darken the theatre. There are six large chandeliers which can be
raised and lowered, almost to the floor if necessary, and candles in sconces on
the pillars around the playing space. They use beeswax candles, you can tell by
the smell, and therefore the light is brighter than you might expect, with a lovely
golden glow, and no smoke. Occasionally the candles have to be trimmed or relit
after being quenched and the stage hands and cast are remarkably quick,
efficient and unobtrusive. No doubt they have special “candle training”.
Sometimes the theatre is darkened and an actor
uses a sconce with a couple of candles, held in one hand, to illuminate their
face. I’m surprised no one has set fire to their wig! They also use a pearly
make up at times, which apparently is authentic. I dread to think what they
used to get the pearly effect in the very early seventeenth century. I have a
sinking feeling that it was probably mercury.
It was all
quite an experience. I couldn’t help thinking of the woman, Ruth someone, who
does Victorian, and earlier, reconstructions on television. I remember her
saying what a help the corset was in supporting her back for a lot of the jobs she
had to do, and for the sitting up straight. (Not, of course, if you try for an
eighteen inch waist.) Anyway, I’m
thinking of getting myself some authentic stays before our next visit to the
playhouse.