This was my first visit to the Sam Wanamaker Playhouse the candlelit, replica Jacobean theatre that is part of the Globe Theatre complex. If truth be told I was almost as interested in seeing the theatre itself as I was at the prospect of seeing the wonderful Dame Eileen Atkins in her one woman show recreating Ellen Terry and her renowned Shakespeare lectures. Thankfully, uncomfortable seating aside, both the theatre and Dame Eileen did not disappoint.Ellen Terry, for those not up on their theatre history, was the preeminent Shakespearean actress of the Victorian era. As the leading lady of Henry Irving’s theatre company at the Lyceum Theatre for over twenty years she played a range of Shakespeare’s women achieving particular acclaim for her Portia and Beatrice.
However it was upon her retirement from the stage that her devotion and passion for Shakespeare was truly cemented in a series of lectures that she gave around the world. In these lectures Terry offered her analysis of the characters’ actions, experience of playing the characters and Shakespeare’s representation of woman. It gave Terry the opportunity to voice some very modern, feminist ideas as well as play characters, such as Rosalind, that Irving did not allow her to tackle.
Watching Atkins portray both Terry and a series of Shakespeare’s leading ladies is a masterclass in acting
Watching Atkins portray both Terry and a series of Shakespeare’s leading ladies is a masterclass in acting. From the moment she enters the tiny stage Atkins controls the audience with just the lift of an eyebrow or the movement of a pinky finger. Her, and ultimately Terry’s, intelligence and passion for Shakespeare’s women shines through every minute of this 75 minute performance. Her rendition of Juliet’s (a part Terry states an actress can only play once she no longer looks the part) crypt speech elicited rapturous show stopping applause from the audience.
The candlelit theatre is warm, beautiful and atmospheric. It is a tiny space that lends itself perfectly to a one-person play. The audience is on three sides and the actor/audience relationship is wonderfully intense. My only complaint would be the seating in the pit. I was in row that the theatre felt was an adequate length for three people. However the row was on an angle leaving very little space and lots of knocking knees. This along with no backboard provided a rather uncomfortable experience. I would recommend when booking that you choose the lower gallery as these seats have backboards. Ultimately the uncomfortable seat was irrelevant as I spent most of my time absolutely transfixed by the wonderful trio of Atkins, Terry and Shakespeare.
4000 DAYS, currently playing at the delightful Park Theatre, has a premiss that is easy to get excited about.