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• W2000762199 abstract "Reviewed by: Dido, Queen of Carthage Peter Kirwan Dido, Queen of Carthage Presented by the Royal National Theatre, at the Cottlesloe Theatre, London. March 24–June 2, 2009. Directed by James MacDonald. Associate Director Cordelia Monsey. Set designed by Tobias Hoheisel. Costume by Moritz Junge. Lighting by Adam Silverman. Music by Orlando Gough. Sound by Christopher Shutt. With Anastasia Hille (Dido), Mark Bonnar (Aeneas), Siobhan Redmond (Venus), Susan Engel (Juno, Nurse), Stephen Kennedy (Achates), Obi Abili (Iarbus), Siân Brooke (Anna), Alan David (Jupiter, Lioneus), Kyle McPhail (Mercury, Hermes), Ryan Sampson (Gaynmede, Sergestus), Garry Carr (Cloanthus), Jake Arditti (Singer, Lord), Ceallach Spellman/Theo Stevenson (Cupid), and Freddie Hill/Thomas Patten (Ascanius). What is the responsibility of a director to a rarely performed play? For the critics who savaged Tim Carroll's 2003 resurrection of Dido, Queen of Carthage for Shakespeare's Globe, the production's failing was in not providing a straight and sympathetic reading that would have allowed Marlowe's words to be tested fairly on the twenty-first-century stage. Instead, Carroll's high-concept, playground-set production caused considerable anxiety: critics were terrified that their only opportunity to [End Page 656] experience the play had been wasted by a production that was unrepresentative of Marlowe's conception of the play. The mounting of a second major revival only six years later on the same bank of the Thames was unanticipated, and James MacDonald's production would have come as a relief to those critics more concerned with a conservative, respectful reading than Carroll's playful approach. Reverent to the text and to the play's origins, this Dido expertly (and perhaps deliberately) delivered the production that critics had wanted the Globe's to be. This production largely eschewed gimmickry, trusting Marlowe's text to hold the audience's attention. This was most obvious in Aeneas's long recounting of the fall of Troy. Sat among the rest of the company on cushions at a low banqueting table, his lament for home was delivered simply, holding both the on- and off-stage audiences in rapt silence with the power of his words. By allowing actors to explore the dignity and pathos of the verse, the production successfully evoked the story's epic quality, its classical weight and significance. While the epic was implied in verse, however, this production's primary triumph was in unearthing the domestic drama at the play's core. In Dido and Aeneas, Anastasia Hille and Mark Bonnar played out the slow breakdown of a mature relationship, transforming the classical icons into contemporary lovers whose differing priorities eventually destroyed even the strongest emotional connection. Following Cupid's intervention, Hille's Dido was fixated exclusively on Aeneas whenever they shared the stage. Increasingly, though, Aeneas's eyes were drawn to a point in the far distance, his mind and attention consumed by destiny and the work given to him by the gods. This simple difference in focus lent great pathos to Dido's situation, and her actions became a desperate plea for his attention and love to which he barely responded. These diverging priorities were occasioned, of course, by the gods. Jupiter's palace, in accordance with his status, was on a raised level high above the main stage, a luxurious and colorful world with deep cushions and sofas on which the fat, balding god dandled Ganymede. From this privileged and detached position, decisions were made which took no account of the concerns of individual humans. Dido, on her first appearance, was a regal and formal figure, entering in full headdress and finery to greet the newcomers. By contrast, the ragged Aeneas was naturally inclined towards the domestic, ready to fall in love with Dido and make a home in Carthage. The meddling of the gods, however, imposed restrictive social conventions on the pair. [End Page 657] Aeneas became restless and mobile, but the most painful change was that on Dido. Her regal duties forgotten, her one obsession became the man in her life, without whom she struggled to define herself. In love she became whiny and irrational, forced to conform to external conceptions of how she should act, but that were unnatural and damaging in..." @default.
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• W2000762199 date "2009-01-01" @default.
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• W2000762199 title "<i>Dido, Queen of Carthage</i> (review)" @default.
• W2000762199 doi "https://doi.org/10.1353/shb.0.0121" @default.
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