The Royal Shakespeare Company’s current
“A World Elsewhere” season has been advertised under the slogan “The
greatest classics you’ve never seen”. Even for an insular British
audience that’s probably pushing matters somewhat as regards the
forthcoming third presentation, Brecht’s
The Life Of Galileo. It is,
however, certainly valid in the case of the Chinese tale
The Orphan Of Zhao, and shamefully
plausible even of Pushkin’s “romantic tragedy” of 1831; I myself have
seen
Boris Godunov only once
before, and that in Russian.
The late Adrian Mitchell’s new translation (forgive the disconcerting
phrasing) is for the most part in free verse in a fairly unadorned
register. Its bluntness, particularly in the mouth of Boris himself,
works well with Lloyd Hutchinson’s Northern Irish accent. When this
former henchman of Ivan the Terrible, having manoeuvred his way on to
the throne himself (in 1598), speaks candidly about the realities of
power and its perception, remaking for instance, “Somebody dies – the
murderer must be me,” he sounds like one of the UDA commanders of
Hutchinson’s and my Belfast youth. In contrast, Gethin Anthony makes
full use of the oratorical flourishes Mitchell gives Grigory Otrepiev,
a monk who becomes pretender to the throne by claiming (as,
historically, did two subsequent pretenders) to be the son of the
previous Tsar who allegedly survived his childhood murder (another odd
phrase, that) on Boris’s orders. Anthony’s “false Dmitry” expertly
works the nobles whose soldiers and money he needs to back his cause.
The role reaches its zenith, however, in a courtship scene wonderfully
devoid of illusions played out with Lucy Briggs-Owen as Maryna, whose
power-hungry pragmatism would make Lady Macbeth blush.
Michael Boyd brings both his Shakespearean experience (as the recently
retired artistic director of the RSC) and his Russian directorial
training to bear, with a staging that is largely straightforward but
with occasional irruptions of ritual or symbolism. (He needs to check,
though, that all actors cross themselves Orthodox fashion, right to
left, rather than Catholic style.) In the other major role, James
Tucker has a touch of the Adrian Scarboroughs about him as Prince
Shuiskii, a courtier whose values oppose him to Boris but whose
instinct for self-preservation makes him a valued collaborator.
Costumes are historically unspecific, with the occasional grey business
suit suggesting that power and honesty remain complex and problematic
in today’s Russia and beyond. At two hours of continuous action, events
unfold at a pace which seems dramatically natural without becoming
oppressively protracted. The RSC seems to have weathered the storm in a
teacup regarding the ethnic casting of
The Orphan Of Zhao with only three
East Asians (this production uses the same ensemble, which contains not
a single eastern European, without having attracted a peep of outrage)
and to be ably demonstrating once more that Shakespeare is not the
company’s sole
raison d’être.
Written for the Financial
Times.