The Castle: A Triumph | |
---|---|
Written by | Howard Barker |
Date premiered | 18 October 1985 |
Place premiered | The Pit, Barbican Centre, Britain |
Original language | English |
The Castle: A Triumph (often shortened to The Castle) is a stage play by Howard Barker. [1] It was performed 18 October - 22 November 1985 by the Royal Shakespeare Company at The Pit in The Barbican Centre as part of a season of three Barker plays (the other two being revival productions of Downchild and Crimes in Hot Countries). The play was directed by Nick Hamm with Ian McDiarmid playing the role of Stucley. [2]
The play was, in part, inspired by the Greenham Common Women's Peace Camp, which was set up by female protestors who were campaigning for nuclear disarmament. Barker has stated that "Greenham was one of the starting points for The Castle – probably because my wife was involved with that. I found that a very symbolic event." [3]
The Castle is regarded as being amongst Barker's "best known plays". [4] [5]
A knight named Stucley returns home to England after seven years of fighting abroad in the crusades. Upon his return he discovers that the land which he used to live on is now operating under a matriarchal system. This new female-led society rejects patriarchy, Christianity, law enforcement, ownership of land, monogamy and shameful feelings towards female genitalia.
Although Stucley had previously failed to conceive children with his wife Anne, he discovers that during his absence she has conceived and given birth to children with elderly men who had stayed in England during the crusades.
Enraged by his wife's infidelity and how the community has changed while he has been away, Stucley attempts to abolish the matriarchal structure and impose a societal system of his own.
Stucley has brought to England a captive from the crusades named Krak, an engineer who was spared in battle. Krak has been commissioned to design a castle that will be built to transform the landscape around them.
Stucley also commands a priest named Nailer to restore Christianity to the region. They together establish a new Christian sect called “The Church of Christ the Lover” which follows the “Gospel of the Christ Erect”, claiming that Jesus was not celibate and had sex with Mary Magdalene.
The play follows the conflict which intensifies between the men and women of the land while the castle grows more intricate and greater in size.
Although The Castle was originally billed as a "history play" and might initially appear to be set during the middle-ages, the play has some anachronistic details which contradicts this, including a moment where the sound of flying jets can be heard.
Also Prosecutors, Prisoners and Women
as well as Soldiers including: Baldwin, Roland, Reginald, Theobald, Soldier One and Soldier Two.
Upon its initial production The Castle generally received a varied critical reception, with many critics being divided over various elements of the play. [2]
One such element was the mixture of poetic language and profanity in the play's dialogue. Those in praise included Michael Billington who wrote "What gives this play such force is Barker's language which is tart, comic, rich-textured and hard-consonanted". [6] By contrast Milton Shulman was highly critical, citing lines of "verbal gibberish" and "pseudo-profundity" which "impresses Barker’s admirers [but] for the rest of us, his efforts to use words like a chop across the windpipe does become wearing", adding that "Obsessed by the potency of references to private parts, Barker displays an adolescent reliance on four-letter expletives to make his belligerent points." [7] Although there were critics who disliked the play's obscene language there were others who defended it. Billington wrote that "Some may baulk at its insistent use of anatomical four-letter words but they're always nouns, never expletives." [6] Benedict Nightingale wrote that "The more conventional have been upset by a proliferation of four-letter language that sometimes gives his dialogue an oddly childish ring […] Those four-letter words are Barker's way of emphasising how much of life, including political life, is infused by sex, determined by it." [8] Other critics were more mixed in their feelings towards the play's dialogue, with Ian Herbert writing in Theatre Record "Is [Howard Barker] an effing (and blinding) genius, or an incurable logorrhoeiac?" when reflecting on the Pit's Barker season. [9]
Critics were also split on the play's exploration of its many themes and intellectual ideas. Andrew Rissik declared the play to be "a piece of theatre whose intellectual range and depth of feeling continually amaze, disconcert and compel" [10] whilst John Barber of The Daily Telegraph wrote "SETTING up shop as a dramatist of ideas, Howard Barker lacks the two basic requirement: a cool head, and a fertile intellect." [11] Barker was criticised by a variety of critics for stuffing his play with too many themes and ideas whilst others appeared more positive in his handling of such material. [2]
One such element was the play's political themes. Praise came from Andrew Rissik, stating that "Far from being narrowly polemic, this is a political drama in the widest, most searching and subversive sense", [10] with Michael Billington writing that "what makes it a stirring theatrical fable […] is that the issues are never clear-cut". [6] However, Milton Shulman was highly critical, dismissing The Pit's Barker Season for "flirt[ing] with obscenity, blasphemy, anarchy and verbosity […] in the name of feminism, Christian-baiting, England-bashing, anti-nuclear propaganda." [7]
Although the play was noted for containing overt feminist themes, a number of critics felt this was partly undermined by certain elements of the play. David Nathan wrote that "[Barker] never bothers to substantiate central theme that women are less cruel than men and indeed sabotages it", [12] with Benedict Nightingale writing that in the play "radical feminism is accused of being obverse Thatcherism" and that "[Barker’s] treatment of gender, sexuality, has never been comforting." [8] The Listener's Jim Hiley had a more mixed opinion. He felt that Barker had created "a morality play, audacious yet subtle and generous" that "pits women […] as saviours […] on the side of life and nature, against men as demonic artificers [and] destroyers" and praised Barker for going "further than most" other male playwrights in writing "more complex female roles" and "conscientious[ly] squaring up to the challenge of feminism". However, Hiley felt that "Elsewhere, Barker seems caught in the very responses he seeks to dismantle" with elements of the play that "joltingly reminds us we're watching a play by a man" and where "Barker's analysis seems painfully stretched". [13] Barney Bardsley for City Limits wrote that in the play "Barker denies the strength of women, but despises the tyranny of men in what turns out to be a moving and eloquent admission of defeat." [14] Michael Billington was more supportive writing that "the play is far more than a simplistic championing of matriarchal values" and presented "a fascinating spiritual tussle in which competitive masculine destructiveness does battle with compassionate female creativity" in which Barker "is raising a vital moral question: how far could, and should, women go in order to change the values of society?" [6] Giles Gordon declared The Castle to be "immeasurably the most sophisticated if difficult feminist play I've seen." [15]
Various reviewers felt that the play was undermined by content that was obscene and excessive. John Barber wrote that "finding he cannot pursue an argument to the end, [Barker] whips himself into a rage of blasphemy, obscenity, gratuitous violence and sensationalism, with every possible effort to shock. His lurid imagination is seen at its best and worst in “The Castle” […] Powerful writing and boldly conceived characters jostle beside schoolboy silliness. What begins as a gripping feminist fable turns into hysterical hullaballoo." [11] Milton Shulman wrote that Barker "does not know the meaning of excess. He thinks it means normal. Every issue he confront relies upon the shout, the shudder and the shock for its dramatic impact" and even stated that the actress Harriet Walter "should be demanding extra humiliation money for permitting herself to be attached to such a barbaric spectacle." [7] In contrast other critics were more forgiving, with Giles Gordon stating "“Unpleasant” The Castle certainly is, but I fear it may be essential." [15]
Despite many reviews finding flaws with Barker’s writing there were critics who responded more positively. Andrew Rissik wrote that "this magnificent new play refutes all but the most quibbling of objections" [10] and Michael Billington wrote that The Castle "combines narrative thrust with scorching language and poetic power to make it, along with Pravda, the most exciting new play in London." [6] A few critics viewed Barker’s play as an important work with Jim Hiley writing "we are indisputably in the presence of a major dramatist" [13] and Billington declaring "this is, by any yardstick, a major play". [6]
The Castle has been recognised as one of Barker's "best known plays". [4] [5]
The Castle is listed as being one of the 100 "best and most influential plays" [16] performed in Britain from 1945 – 2010 in the book and iPad app Played in Britain: Modern Theatre in 100 Plays. [17] [18]
In 2015 Exeunt Magazine published a "subjective list" of "great plays" in response to Michael Billington's list of The 101 Greatest Plays. One of the plays listed by Exeunt writer Duska Radosavljevic was The Castle. [19]
Harold Pinter was a British playwright, screenwriter, director and actor. A Nobel Prize winner, Pinter was one of the most influential modern British dramatists with a writing career that spanned more than 50 years. His best-known plays include The Birthday Party (1957), The Homecoming (1964) and Betrayal (1978), each of which he adapted for the screen. His screenplay adaptations of others' works include The Servant (1963), The Go-Between (1971), The French Lieutenant's Woman (1981), The Trial (1993) and Sleuth (2007). He also directed or acted in radio, stage, television and film productions of his own and others' works.
Sir Alan Arthur Bates was an English actor who came to prominence in the 1960s, when he appeared in films ranging from the popular crime drama Whistle Down the Wind to the "kitchen sink" drama A Kind of Loving.
Howard Barker is a British playwright, screenwriter and writer of radio drama, painter, poet, and essayist, writing predominantly on playwriting and the theatre. The author of an extensive body of dramatic works since the 1970s, he is best known for his plays Scenes from an Execution, Victory, The Castle, The Possibilities, The Europeans, Judith and Gertrude – The Cry as well as being a founding member of, primary playwright for and stage designer for British theatre company The Wrestling School.
Thomas Edward Bond was an English playwright, theatre director, poet, dramatic theorist and screenwriter. He was the author of some 50 plays, among them Saved (1965), the production of which was instrumental in the abolition of theatre censorship in the UK. His other well-received works include Narrow Road to the Deep North (1968), Lear (1971), The Sea (1973), The Fool (1975), Restoration (1981), and the War trilogy (1985). Bond was broadly considered among the major living dramatists but he has always been and remains highly controversial because of the violence shown in his plays, the radicalism of his statements about modern theatre and society, and his theories on drama.
The Experimental Theatre Club (ETC) is a student dramatic society at the University of Oxford, England. It was founded in 1936 by Nevill Coghill as an alternative company to the Oxford University Dramatic Society (OUDS), and produces several productions a year.
Aikaterini Hadjipateras, known professionally as Kathryn Hunter, is a British–American actress and theatre director, known for her appearances as Arabella Figg in the Harry Potter film series, Eedy Karn in the Disney+ Star Wars spinoff series Andor, as the Three Witches in Joel Coen's The Tragedy of Macbeth, and most recently as Swiney in Yorgos Lanthimos's Poor Things. Hunter was born in New York to Greek parents, and was raised in England. She trained at RADA where she is now an associate, and regularly directs student productions.
The Pitchfork Disney is a 1991 stage play by Philip Ridley. It was his first professional stage work, having also produced work as a visual artist, novelist, filmmaker, and scriptwriter for film and radio. The play premiered at the Bush Theatre in London, UK in 1991 and was directed by Matthew Lloyd, who directed most of Ridley's subsequent early plays.
Milton Shulman was a Canadian author, film and theatre critic who was based in the United Kingdom from 1943.
Mercury Fur is a play written by Philip Ridley which premiered in 2005. It is Ridley's fifth adult stage play and premiered at the Plymouth Theatre Royal, before moving to the Menier Chocolate Factory in London.
Tom Burke is an English actor. He is best known for his roles as Athos in the 2014–2016 BBC TV series The Musketeers, Dolokhov in the 2016 BBC literary-adaptation miniseries War & Peace, the eponymous character Cormoran Strike in the BBC series Strike, and Orson Welles in the 2020 film Mank.
Denise Gough is an Irish actress. She has received a number of accolades, including two Laurence Olivier Awards as well as a nominations for a Tony Award and a British Academy Television Award.
Blue Heart is two one act plays, written by Caryl Churchill and copyrighted in 1997. The first play, Heart’s Desire, is about a family waiting on the arrival of their daughter Suzy. The second play Blue Kettle, is about a man named Derek who goes around telling women they're his mother because he was adopted at birth. The women believe him and truly find ways to tell him the way he is their son. Blue Heart is highly regarded by critics.
Scenes from an Execution is a play by the English playwright Howard Barker. The plot revolves around a female artist's struggles against the Venetian city-state in the aftermath of the 16th century Battle of Lepanto. Although the city commissions the painting to celebrate the victory over the Turks, the artist's vision differs dramatically from that of the Doge and the Catholic Church. The play has been described as "Barker's most famous and accessible play".
Caryl Lesley Churchill is a British playwright known for dramatising the abuses of power, for her use of non-naturalistic techniques, and for her exploration of sexual politics and feminist themes. Celebrated for works such as Cloud 9 (1979), Top Girls (1982), Serious Money (1987), Blue Heart (1997), Far Away (2000), and A Number (2002), she has been described as "one of Britain's greatest poets and innovators for the contemporary stage". In a 2011 dramatists' poll by The Village Voice, five out of the 20 polled writers listed Churchill as the greatest living playwright.
The Fastest Clock in the Universe is a two act play by Philip Ridley. It was Ridley's second stage play and premiered at the Hampstead Theatre, London on 14 May 1992 and featured Jude Law in his first paid theatre role, playing the part of Foxtrot Darling. The production was the second collaboration between Ridley and director Matthew Lloyd, who would go on to direct the original productions for the majority of Ridley's plays until the year 2001.
Andrew Rissik is a British scriptwriter, journalist and critic best known for the BBC Radio 3 trilogy, Troy and the five-part thriller serial for Radio 4, The Psychedelic Spy. He was theatre critic at The Independent from 1986 to 1988, and a book reviewer for The Guardian from 1999 to 2001. His full-time writing and journalistic career came to an end in early 1988 when he was diagnosed with Myalgic encephalomyelitis (M.E.), from which he still suffers.
Alice Birch is a British playwright and screenwriter. Birch has written several plays, including Revolt. She Said. Revolt Again. for which she was awarded the George Devine Award for Most Promising New Playwright, and Anatomy of a Suicide for which she won the Susan Smith Blackburn Prize. Birch was also the screenwriter for the film Lady Macbeth and has written for such television shows as Succession, Normal People, and Dead Ringers.
Here We Go is a 2015 play by Caryl Churchill. Critics' reviews were generally positive.
Glass. Kill. Bluebeard. Imp. is a 2019 series of plays by British playwright Caryl Churchill that were premiered together.
The Chair Plays are a trilogy of plays by English dramatist Edward Bond. The trilogy includes Have I None, The Under Room, and Chair. Have I None was premiered by Big Brum on 2 November 2000 at Birmingham's Castle Vale Artsite. The Under Room was also premiered by Big Brum at MAC in October 2005. Chair was written specially for radio, and while it was written in 2000, its first staged production was in Lisbon, at the Teatro da Cornucópia in June 2005. The London premiere of the entire trilogy was at Lyric Hammersmith, on 19 April 2012. Have I None and Chair received mostly positive reviews, but The Under Room polarized critics.