WALLENSTEIN To 13 June.
Chichester.
WALLENSTEIN
by Friedrich Schiller adapted by Mike Poulton.
Minerva Theatre To 13 June 2009.
Mon Sat 7.30pm Mat 2.15pm.
Runs 2hr 45min One interval.
TICKETS: 01243 781312.
www.cft.org.uk
Review: Timothy Ramsden 6 June.
Impressive reduction of a mighty drama.
It’s 250 years since the birth of Friedrich von Schiller, an anniversary so far marked in Britain by just two, fine productions: Clwyd Theatr Cymru’s Mary Stuart and Chichester’s of the lesser-seen Wallenstein. It would have been wonderful to have Chichester's Jonathan Church follow up his large-scale, two-part Nicholas Nickleby with full versions of the Wallenstein Trilogy on the Festival Theatre stage. But there are financial limits.
And this smaller-scale version springs to life in the Minerva. Iain Glen’s Wallenstein, a Prince fighting for the Catholic Holy Roman Emperor during the 30-year Civil War that spread across most of early 17th-century Europe, is ambitious, a born leader who can come apart mid-moral decision. Looking for the crown of Bohemia as reward, he turns to an alliance with the Protestant enemy when it’s not forthcoming.
He’s caught between wily female advice from Countess Terzky and the ideals of young Max Piccolomini. He’s caught between Wallenstein and his own father. Schiller was well aware of political manoeuvrings, and his 1799 drama has strong contemporary resonances.
Mike Poulton’s version has to omit as much as it includes, so there are truncations of thought and occasional unevenness in plot development. He’s still done a remarkably good job, and provides fluently speakable dialogue. Angus Jackson’s production plays the Shakespearean action at full value. (Shakespeare was very big in 18th century German theatre).
Designer Robert Innes Hopkins’s set, stone paved with tall rear columns, only acquires some warmth for the final scene, where Wallenstein meets his fate. Till then James Whiteside’s lighting often picks out small areas amid dark, the surrounding gloom giving a near-mystical sense to a Protestant visitor (Tom Brooke showing he can play still and contained as well as fizzing), who takes on the inner/outer ambiguity of Macbeth’s witches.
Iain Glen’s Wallenstein hardly talks to anybody; everything is conscious pronouncement, his thoughtful manner coming to resemble that of Michael Pennington. And there’s especially strong work from Charlotte Emmerson’s political wife, Anthony Calf as the loyalist Piccolomini agent and John McEnery’s sniffy imperial messenger and ‘good’ gaoler – a type seen too in Mary Stuart.
Friar/Gotz: Fergus O’Donnell.
Buttler: Denis Conway.
Isolani/Mayor of Eger: Ferdy Roberts.
Illo/Deveraux: Sebastian Armesto.
Prince Albrecht von Wallenstein: Iain Glen.
Duchess Elizabeth von Wallenstein: Jessica Turner.
Princess Thekla: Annabel Scholey.
Countess Terzky: Charlotte Emmerson.
Count Max Piccolomini: Max Irons.
Count Terzky: Paul Hickey.
Count Octavio Piccolomini: Anthony Calf.
Von Questenberg/Gordon: John McEnery.
Kinsky/Page: James Atherton.
A Butler/A Pappenheimer Soldier/Macdonald: Andrew Westfield.
Colonel Gustav Wrangel: Tom Brooke.
Community cast: Tom Clear, Gilbert Cockburn, Ross Gilson, John Lieurance, Lawrence Tate, John Stuart Warner.
Director: Angus Jackson.
Designer: Robert Innes Hopkins.
Lighting: James Whiteside.
Sound: Jonathan Suffolk.
Composer: Grant Olding.
Dialect coach: Julia Wilson-Dixon.
Fight director: Terry King.
Assistant director: Abigail Graham.
Assistant designer: Stuart Hembrow.
2009-06-07 11:41:26