Katie Mitchell

New York Arts in London

A Woman Killed with Kindness at the National Theatre, London

Whether or not Charles Lamb was over-generous in calling Heywood “Shakespeare in prose”, it quickly becomes evident watching Katie Mitchell’s production of his best work A Woman Killed With Kindness (first performed in 1603) that neither director nor cast have much faith in his literary merits. Frenetic stage action across an expensively exquisite split-set by Lizzie Clachan and Vicki Mortimer aims to literally bulk out what the company clearly believes is an insubstantial text, one merely possessing salacious plot elements for a prurient modern audience seeking high-brow soap-opera. In the comfortable house to the right we have the unhappy marriage of John Frankford and his wife, destroyed by her infidelity with their houseguest, Wendoll, while she is heavily pregnant. To the left, in a grander but colder manor, Anne’s brother Sir Francis Acton engages in an altogether less lusty and consenting relationship with Susan, the woman he is offered as compensation for bailing her murderer brother Sir Charles Mountford – by Charles himself.
A London Summer with Huntley Dent

Mozart’s Idomeneo at the English National Opera

Virtue rampant. It’s something of a drawback when an opera has no characters, but this wasn’t always so. At the height of the 18th century’s classical style, an emblem would suffice, or a slightly animated statue. In Mozart’s Idomeneo something like the ideal is achieved. No one is really flesh and blood but rather personified virtues: Nobility caught between Filial Devotion and conflicted love from Chaste Constancy and Heartfelt Passion. Or as the playbill has it, Idomeneo, king of Crete, is trapped by a vow to Poseidon to sacrifice his son, Idamante, while two women pine longingly, Ilia, a captured princess of Troy, and the infamous Electra, daughter of Agamemnon. These pawns on the Greek chessboard were available to any dramatist or poet of Mozart’s day, to be shuffled through the paces of opera seria, the musical equivalent of high tragedy.
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