Thursday October 15, 2015, H&H Series 3 Reviews :Theatre Relocated merchant has joy and insight

THE MERCHANT OF VEMBLEY COCKPIT THEATRE ####$

ased on The Merchant of Venice Shishir Kurup’s play Bin suitable iambic pentameters has been relocated to Wembley’s Hindu community with remarkable success. Jeetendra a Bollywood Star wants to marry his producer’s daughter Pushpa who has been left an enormous fortune by her late father. Although she has resisted arranged marriage she is respecting his wishes to marry the man who will correctly chose one of three I Emilio Doorgashingh as Sharuk picture: Shyamantha Asokan boxes Jeetendra’s friend Davendra a contract saying that if he denigrated, the more extreme will back his new film but cannot pay the money back he would be the vengeance. must borrow the money as his will forfeit a pound of flesh not The surprise of the evening is ships have yet to come in. His from his heart but from a more an enlightening, heartbreaking businesses are doing well but intimate body part – making speech by Kavita, Pushpa’s he cannot put his hands on the him unable to father non friend arguing for greater cash. So he goes to Sharuk – a Muslims. understanding between genders Muslim money lender who has The title sounds like a and religions, and espousing just lost his beautiful daughter comedy and indeed the first act the Hindu faith’s tenet of Noori when she eloped with is full of riotous humour. The unconditional compassion. an African. He is disgusted drama lies in the second act and An imaginative and unusual when he learns she has doffed illustrates the hatred of Sharuk set blends a film of busy her traditional dress in favour the Muslim and his desire for with Asian carved of a pink wig, fishnets and a what he thinks of righteous screens, in Ajay Chowdhury miniskirt. revenge. As a minority group distinctively directed show. Sharuk makes Davendra sign he says the more they were Aline Waites A whimsical star vehicle

FARINELLI AND THE KING DUKE OF YORK’S THEATRE ###$$

Make opera, not war. So urges composer-turned-playwright Claire van Kampen’s featherweight historical star vehicle, elevated by husband – in a tailored role showcasing his beguiling I Mark Rylance as Philippe V of Spain picture: Simon Annand idiosyncrasies – and John Dove’s sumptuous production. Trapped by the greatness thrust Rylance’s mercurial Rylance is 18th-century upon them, the pair escape monarch is at once petulant, Philippe V of Spain, whose their fishbowl – yes, there’s also threatening, listless and reign is threatened by a literal fishbowl – and return giddily impulsive, tormenting rumblings of war, an abdication to nature. Melody Grove’s steadfast carer plot, and his descent into The play’s fascination Isabella. However, there’s debilitating depression. But with oppositions – public richer exploration of that wife Isabella hopes celebrated and private, court and forest, dynamic up the road in The castrato might restore power and helplessness, agony Father; here, it swerves into the king’s spirits and sanity. and ecstasy – makes a virtue romantic melodrama. The Though inspired by of Farinelli’s dissociative intersection of medicine and real events, van Kampen’s portrayal, with Sam Crane the faith is thinly sketched, as are whimsical piece offers a mournful man and counter- most supporting characters, reductive view of music tenor Iestyn Davies his divine though Colin Hurley’s grumpy therapy as magic cure for voice. Davies’ hypnotic arias librettist amuses. bipolar Philippe. More communicate more effectively If not deeply illuminating, interesting, though bluntly than words the soul-stirring it is exquisitely candlelit, spelled out, is the parallel power of music. Truly “art for casting flickering shadows over between the “unnaturally” all”, though that exhortation Jonathan Frensom’s brocade created sovereign and singer lands more ironically in the frock coats and oppressive regal (whose ambitious brother pricey West End than at the portraits. Lavish but limited. butchered his genitals). Globe. Marianka Swain