Review: TROILUS AND CRESSIDA, Shakespeare's Globe

One of the least performed plays in Shakespeare’s canon, and also one of the most aptly labelled as a ‘problem play’; Troilus and Cressida is ostensibly about the romance between these two Trojans, but in reality much of the play focuses on the backdrop to their love - the ongoing siege of Troy by the Greeks. This production in the open-air Globe Theatre is the final new show of the summer season.

Troilus is in love with Cressida. Cressida is in love with Troilus. Not wanting to appear too easily “won”, however, she ensures that his affection is proven secure and long-lasting by having her relative Pandarus go between them - once she is satisfied, the couple openly confront each other with their feelings. All the while, the Trojan War has been in stalemate for some time; Achilles (the Greeks’ star fighter) is refusing to take up arms, and so Ulysses comes up with a plan to try and goad him back into action in single combat with Trojan prince Hector.

The two narratives later collide, when Calchas (Cressida’s father, collaborating with the Greeks) asks for her to be brought to him in the Greek camp - he suggests that Trojan prisoner Antenor is offered in exchange. Will the lovers be parted? And will Achilles reclaim his position as champion of the Greeks?

Whilst a more obscure play is always welcome, given that even Shakespeare’s Globe seems to have taken to re-doing the same selection of works in quick succession, this feels like a curious choice. For starters, the tonal whiplash in the source material means you can’t really win; regardless of how a company approaches it, the chances are it will still come across as disjointed. Director Owen Horsley does his best in this production to focus mostly on the humour - this is probably the right call, given the unfamiliarity of the play and its almost three-hour running time.

An almost omnipresent Lucy McCormick is the key to the tone and entertainment value of the production. As Thersites, she is part of the Greek camp but also acts as a de facto Chorus, keeping the audience informed and getting involved with the action as little as possible; in her one scene as Helen of Troy, she delights us with a musical number before Helen’s public facade cracks and her vulnerability briefly shows itself. It’s easily the most memorable pair of performances in the production.

Samantha Spiro also stakes her claim here, with her comic portrayal of the meddling Pandarus (aunt to Cressida rather than uncle in this version) - all bright orange hair and clumping heels, she provides some light relief at just the right moments. Matthew Spencer playing both Menelaus (Helen’s husband) and Paris (Helen’s lover) also has amusing results, most notably when the two armies finally clash later on in the play.

For anyone who knows The Iliad and related Greek myths well, it’s especially interesting to see how both Agamemnon and Achilles are portrayed. The former is often seen as something of a tyrant, more interested in honour than his wife and children, but here Jonathan Livingstone’s performance is far more jovial and likeable than you might expect. Similarly, the latter is usually seen as the pinnacle of man, whereas David Caves’ Achilles is more likely to be found with a sharing bag of crisps in his hand than a sword - at least in his earlier appearances. This all leans into the humour of the production, and does make it more watchable.

The only problem left is when a scene (or part of one) just can’t be made funny. At times there are some rather long speeches that should add something to the production - however I’m not wholly convinced the people speaking them actually understand what they’re saying, as no meaning is conveyed and I found myself lost within a sea of words on more than one occasion.

Ryan Dawson Laight’s design puts a contemporary twist on the play, the standout aspect being how the contrast between the Greeks and the Trojans is made clear: while the people of Troy retain a semblance of luxury as they’re trapped in their home, the siege-laying Greeks are a lot more grey and drab. The crumbling remains of a giant statue hint at what’s to come as the war draws towards its bloody climax.

Press night was unfortunately timed to coincide with Storm Amy making her way across London, and the company did well to persevere in the face of worsening conditions - although presumably this meant that we couldn’t see certain scenes in full flight, for the understandable reason of ensuring the cast’s safety. The fight sequences do still bring the latter stages to life, when even the hardiest of groundlings might be flagging.

What is inescapable is the lack of a complete resolution at the very end of the play. For one thing, the siege is still ongoing - and for another, Cressida is ignominiously discarded with no right of reply. One does wonder whether more could be done in terms of staging to help it feel as if the play actually does finish here, as the initial reaction from the audience on press night did suggest that they were unsure if Pandarus’ monologue was ‘it’. It’s all very well tying up the loose ends for the male characters, but the women deserve the same treatment - the bitter taste left by Horsley’s Twelfth Night last year manages to repeat on us here.

There is plenty to enjoy in this production, but at the same time not enough to mark it as a standout or exemplar; perhaps combining the ideas of this one with the aesthetics of Gregory Doran’s 2018 version at the Royal Shakespeare Company would have a more satisfactory effect. Nonetheless, it’s worth giving in to your curiosity for another whirlwind Lucy McCormick performance.

Troilus and Cressida is at Shakespeare’s Globe until 26 October

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