David Oyelowo is a powerful Coriolanus
This was a vivid reimagining of Shakespeare’s Coriolanus, starring David Oyelowo in his long awaited return to the UK stage, writes Molly Goetzee.
Directed by Lyndsey Turner, this production brings the Shakespearean text into the modern age of surveillance and social media, highlighting the central themes of the ruling powers vs the people. It is a compelling choice: the idea of political leaders being misaligned with the people is as prevalent today as when it was first written.
The empty stage begins with a towering memorial, with a projection of dappled figurines, like black and white ants from a God-like perspective. It is one of many projections that run through the play that truly give a sense of modernity and scale.
The battle sequences, with captivating moments of slow motion, impressively combined lighting, videography and stage combat. Alongside expert lighting and video design, the set is outstanding.
Towering columns lift up and out revealing museum artifacts, conference rooms and kitchens. The interior spaces of the home seem to reflect the family that created them – warm but lacking humanity. Coriolanus’s child has one toy, a flashing plastic helicopter: colourful and totally out of place of the regimented world that surrounds him.
David Oyelowo was a powerful Coriolanus, pitching the disdain and war-fuelled soldier well. His Coriolanus is driven by rage and a love for battle, as well as the status quo of social hierarchy and political order. Showing gentleness becomes his downfall, ending in his death for letting his heart be swayed by his mother.
This is one of the most heart-wrenching moments of the play, expertly played by Pamela Nomvete. Her plea to Coriolanus, baring herself to her son’s mercy and offering herself up for humiliation, was captivating and brutal.
The constant vying for power infiltrates every aspect of the play with clever directorial choices. Even those purportedly on the side of the people, Sicinius and Brutus, are seen later getting expensive custom suits fitted whilst discussing the fate of the city. Stephanie Street flawlessly embodied Sicinius, alongside Jordan Metcalfe’s Brutus. Both enacted perfect examples of shadow cabinet ministers playing the political game.
The National Theatre’s Coriolanus was a fresh production of a Shakespearian classic, blending old and new effortlessly with creative use of lighting and technology. The setting of the museum was an interesting one. Human history to seep into the artifacts that museums hold in glass boxes, allowing the audience to truly ponder the brutality that brought them into existence.
National Theatre, South Bank, London, SE1 9PX until 9th November. Times: Mon – Sat 7pm; Wed & Sat matinees 1pm. Admission: £20 – £89.
Booking: www.nationaltheatre.org.uk
