5/11. To 8 September.
Chichester
5/11
by Edward Kemp
Chichester Festival Theatre in rep to 8 September 2005
Mon-Sat 7.30pm Mat Tue, Wed, Thu 2pm
Runs 2hr 55min One interval
TICKETS: 01243 781312
www.cft.org.uk
Review: Timothy Ramsden 24 August
Bold with vigorous play with modern resonances.As its title proclaims, this story of the politics around the 1605 Gunpowder Plot's not intended as a blast from the past. 9/11's the obvious reference point, but events have since thrown in 7/7. Though the closer parallel's probably with 21/7, for as with the second group of London's 2005 summer bombers, these explosives never went off.
The reasons are different, though ideological battle-lines of belief and political preservation are as keenly drawn. On all sides. Literally at the side is Hugh Ross's fine Cecil, in Elizabethan costume but sitting at a modern desk, his angled lamp casting a pool of light for his eyes only. From here this security chief controls operations against a dangerous religious sect, the Roman Catholics, while his new royal master James moves between private and public personas.
In private James is either an insolent playboy looking for other boys to play with or someone making absolutist statements about the king's power, accusing Cecil of wanting the top job. Posing in the eye of the media, Alistair McGowan's tall, smartly-clad figure becomes a dignified figure, making statesmanlike proclamations. With multiple flags suddenly unfurled, and a cacophony of patriotic tunes from centuries to come backing him, James disassociates the vast mass of decent, moderate Catholics from the actions of a few terrorist extremists.
Who plot and quarrel with intensity. Richard O' Callaghan's Jesuit priest does a good line in casuistry, using Confession to gain information. When he and Cecil finally meet they have matched minds if not power. The scene gives range to Kemp's wit, piercingly present throughout the play.
Its large cast on a wide-space allows a bravura staging, exploited by director Steven Pimlott. With the aisles used too, the swift kaleidoscope of events demands concentration at speed; sheer energy doesn't allow for nuancing. The second act, where chaos occurs around a patterned garden, falls more neatly into place. With a scaffold above, and hangings of Catholic priests framing the action, this bold production leaves little doubt why 5/11 had an urgency which would fill tabloid headlines and committees of inquiry today.
King James: Alistair McGowan
Queen Ane: Annette McLaughlin
Lady-in-Waiting: Claire Parrish
Earl of Lennox: Aleksandr Mikic
Sir Robert Cecil: Hugh Ross
Earl of Northumberland: Raad Rawi
Archbishop of Canterbury: Steven Beard
Sir Richard Topcliffe: David Langham
Baron Ellesmere/Robert Southwell: Brendan O'Hea
Lord Somerset/Pageant Master: Kieran Hill
Lady Katherine Suffolk: Alexia Healy
Bromley: Christian Bradley
Robert Catesby: Stephen Noonan
Thoma Winter: Mark Meadows
William Monteagle: John Ramm
Lizzie Monteagle: Kay Curram
Francis Treasham: Tom Silburn
Thomas Percy: Graham Turner
Martha Percy: Anna Francolini
Edward Percy: Ollie Porter
Jack Wright: Grant Anthony
Kit Wright: Gary Milner
Guy Fawkes: Daniel Absalon
Henry Garnet: Richard O'Callaghan
Anne Vaux: Fiona Dunn
Director: Steven Pimlott
Designer: Ashley Martin-Davis
Lighting: Chris Ellis
Sound: Matt McKenzie
Composer: Jason Carr
Movement: Toby Sedgewick
Season Installation Designer: Alison Chitty
Assistant director: Paul Higgins
2005-08-26 11:55:48