The article "How The Audience echoes Shakespeare in showing the human cost of being Queen" was published on the 6th of March in 2013 on the website: http://www.telegraph.co.uk/culture/theatre/theatre-reviews/9912659/How-The-Audience-echoes-Shakespeare-in-showing-the-human-cost-of-being-Queen.html
The author wrote that after watching Helen Mirren star as the Queen in the opening night of Peter Morgan’s play The Audience, Dominic Cavendish spots a parallel with Shakespeare's history plays.
One of the most haunting images in The Audience shows its prim and proper heroine trying to sneak a peak out of one of the windows of Buckingham Palace without being observed. Redoubling the poignancy, Peter Morgan revisits the vignette towards the end. The girlish princess (evoked wonderfully well on opening night by Nell Williams, clipped of accent, brimming with vigour) and her elder self (played with a sublime mixture of regal composure and subtle psychological self-exposure by Helen Mirren) hold themselves as still as statues to spy on the world beyond - which at once lies under their nominal dominion and yet also remains the undiscovered country.
That Morgan has learnt from Shakespeare about framing the historical moment is evident from the very first lines of the play, in which Geoffrey Beevers’ Equerry steps forward to help set the scene, in a latter-day echo of the Chorus.
I like such articles because they tell us about the novelties in the sphere of theatre. And friendly speaking, i'd like to watch this performance, it deeply interests me.
The author wrote that after watching Helen Mirren star as the Queen in the opening night of Peter Morgan’s play The Audience, Dominic Cavendish spots a parallel with Shakespeare's history plays.
One of the most haunting images in The Audience shows its prim and proper heroine trying to sneak a peak out of one of the windows of Buckingham Palace without being observed. Redoubling the poignancy, Peter Morgan revisits the vignette towards the end. The girlish princess (evoked wonderfully well on opening night by Nell Williams, clipped of accent, brimming with vigour) and her elder self (played with a sublime mixture of regal composure and subtle psychological self-exposure by Helen Mirren) hold themselves as still as statues to spy on the world beyond - which at once lies under their nominal dominion and yet also remains the undiscovered country.
That Morgan has learnt from Shakespeare about framing the historical moment is evident from the very first lines of the play, in which Geoffrey Beevers’ Equerry steps forward to help set the scene, in a latter-day echo of the Chorus.
I like such articles because they tell us about the novelties in the sphere of theatre. And friendly speaking, i'd like to watch this performance, it deeply interests me.
Good!
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The author writes that...
...where Geoffrey Beevers’ Equerry steps forward to help set the scene