Coriolanus is a “tragedy of epic proportions” and “worth every penny”: review

The National’s latest production Coriolanus features cinematic fight scenes, a talented and vital lead, and a painfully contemporary storyline depicting a hungry citizenry, public unrest, fight scenes, political machinations, and a societal collapse worthy of 2024. This is a tragedy of epic proportions and the National is doing it well.

David Oyelowo plays the tragic Roman general Caius Marcius Coriolanus with enviable ease, speeding through Shakespeare’s verse and prose while devouring the air in front of him.

Kobna Holdbrook-Smith is equally fascinating as Caius’ counterpart, the Volscian general Tullus Aufidius. Their speech and their presence on stage are beautifully contrasted, Caius is so rash and contemptuous, Tullus more thoughtful and brooding in his hatred. Their one-on-one fight scene is masterfully choreographed on the huge Olivier stage. Flashes of light, music, fast and slow movements, the fight is reminiscent of 2002 Troy.

This is a tragedy of epic proportions and the National is serving it well. (Image: Misan Harriman DSCF816) After gaining fame in the battle for the city of Corioli, Caius returns to Rome to run for office and encounters an opponent of a very different kind – the tribunes Brutus and Sicinius, those of Jordan Metcalfe and Stephanie Street with appropriate malevolence be played. Her desperate attempts at power and influence were so convincing, her personality so weak, that I felt like I had been given special access to a government and shadow cabinet meeting in real time. Standing next to Oyelowo’s uncompromising warrior Caius, they were almost faceless and a little forbidding. He, a man of action, and they have no actions, only words of rebuke.

Es Devlin’s set is reminiscent of the palatial galleries of the British Museum – the ones they reserve for their biggest fundraising events. Imposing bronze sculptures, impenetrable stone slabs – materials and objects from centuries that will outlive us all. Devlin’s vision is bold and operatic in its execution, a setting worthy of Rome and Coriolanus.

Like many of his contemporaries, the production couldn’t help but make use of stage cameras, microphones and projected videos (many of us are still reeling from Jamie Lloyd’s). Romeo and Juliet). Shakespeare doesn’t need any of this frippery, but is visually effective. And yet it draws attention away from the actors and towards the screen. If I wanted to watch a video I would subscribe to NT At Home.

Tickets can be purchased at nationaltheatre.org.uk. (Image: Misan Harriman DSCF816)

Peter Forbes is too funny as Menenius, and Pamela Nomvete is unforgettable as matriarch Volumnia – she held every pair of eyes in the audience as she knelt before her son. Essentially, it is a first-class production of a timeless play with a first-class cast. When Coriolanus is sentenced to exile, Oyewolo raises the bar even higher.

Sometimes it is a sharp political and social satire, sometimes a condemnation of humanity. A great evening at the theater that is worth every cent.

Coriolanus runs at the Olivier Theater until November 9, 2024.

Tickets: nationaltheatre.org.uk

Playwright: William Shakespeare

Directed by Lyndsey Turner

Set designer: Es Devlin

Costume designer: Annemarie Woods

Fight Director: Sam Lyon-Behan