list.co.uk/festival The James Plays | FESTIVAL FEATURES
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P H O T O © R O B E R T D A Y
JAMES II: DAY OF THE INNOCENTS Bloodied brothers ●●●●● JAMES III: THE TRUE MIRROR Rock’n’roll royal intrigue ●●●●●
Halfway through the second part of Rona Munro’s trilogy, there is a banquet sequence. The cast chant and demand ‘meat, meat, meat’: yet meat is absent from this episode, with too much gristle to chew on. Munro charts King James’ transition from gauche child (represented by a puppet) to assertive, decision-making adult in spite of opposition from all sides, particularly the condescending Livingston, Earl and Keeper of Edinburgh Castle (a braying Gordon Kennedy). Rather than preserve the historical period, the production updates the action and approaches the past as a melodramatic struggle for supremacy.
The modernisation feels a little facile: some perfunctory dialogue turns this fascinating story of power plays into something approximating parody, with big explosions and blockbuster sound effects bombarding the senses. The huge claymore sword stuck through the mist-covered set becomes a symbol of the problems of the production, which abandons nuance for the broad, expansive stroke. Nevertheless, the cast are consistently impressive. There’s great supporting work from an understated Rona Morison as James’ sister, and Andrew Rothney as James is a charismatic lead. Unfortunately, the ‘bromance’ between James and his slowly unravelling best friend William Douglas, played with swagger and little else by Mark Rowley, is given too much attention and time, and the tone throughout is overwrought. Sadly, not even the wonderful Blythe Duff as the incarcerated Isabella Stewart – with battery acid in her veins, and some of the best lines – can redeem this. Too much fat for seconds. (Lorna Irvine)
The king gets some bling in the third of Rona Munro’s historical trio of plays: the huge dagger digging into the stage at the Festival Theatre has shining jewels embedded in the handle, and James (Jamie Sives) is keen to pimp up his reign. He wants a choir to follow him around to perform a live soundtrack to his royal pursuits. Such affectation does not go unnoticed; his ageing wife Margaret (Soi e Gråbøl) is less than impressed that his romantic notions don’t include her, and while the i res are going out in the bedroom, there’s plenty of bystanders keen to play a role in the impending power-play.
Laurie Sansom’s handsome production opens with dancers performing to a variety of reworked faux-folk tunes including Lady Gaga’s ‘Born This Way’ and Lorde’s ‘Royals’. Such anachronistic cheekiness is a central part of the appeal of Munro’s script, with James recast as a decadent rock’n’roll debauchee, and Margaret as the cast-aside plaything who ends up bitterly taking charge of his fading career. Sives makes the most of the pomp, taking delight in the king’s unpredictable behaviour, but Gråbøl is more than a match, demonstrating a steely grip on her character’s political manipulations. No turgid toil through the history books, James III is splendid entertainment, mounted on an ingenious set by Jon Bausor which places a section of the audience on-stage. At times, the modernity of the dialogue grates, and Margaret’s i nal put-down to the Scots that they have ‘fuck all but attitude’ feels like a cheap shot. That said, Munro can be forgiven such slips; James III is a powerful play of considerable merit. (Eddie Harrison)
James I, until 20 Aug (not 13–15, 18); James II, until 21 Aug (not 14 & 15, 18 & 19); James III, until 22 Aug (not 13, 18 & 19, 21). All performances at Festival Theatre, 473 2000, times vary, £15–£35. 14–25 Aug 2014 THE LIST FESTIVAL 15