Review: Crown of Blood at Crucible Theatre

“…edge-of-the-seat spectacle theatre…”

Crown of Blood by Oladipo Agboluaje, Crucible Theatre

By Phil Scown

Crown of Blood is a reworking of Shakespeare’s Scottish Play.  Though this might be regarded as giving away the plot, it is declared by the writer, Oladipo Agboluage, in his discussions of the work and in the production’s programme.  As with Shakespeare, it took me a few minutes to ‘get my ear in’ to the way of speaking.

The couple overcome by ambition, as in the Scottish Play, are the general, Aderemi (Deyemi Okanlawon) and his wife, his only wife, Oyebisi (Kehinde Bankole).  There is foretelling, murder, a ghost, more murder, battles, and karma.  The plot for Crown of Blood is not a direct and faithful copy of Shakespeare’s, but it is easy to see how one is the source for the other.  The variations, such as being placed in Oyo, a West African Empire, and set in the 19th century, highlight the universality of Shakespearean stories.  In making these shifts the writer has also made other changes, which help keep your attention from the start.  Red cloth is slowly pulled from under the throne, tantalisingly slowly, towards the audience – a prediction of the blood that will flow as the story of the crown unfolds.

The three witches are not three witches, but one magic man, Awoskia (Tunji Falana), who performs more magic than Shakespeare’s witches do.  This gives us one of the best comic moments of the play, a scene of enchantment involving Awoskia and Kundi (Jude Akuwudike).  I don’t recall this level of comedy in the Scottish Play.  It’s one of a number of comic moments that are necessary to lighten the mood, albeit only for moments, in a play that would otherwise be unremittingly dark.

The ensemble are all faultless in their support.  The enigmatic Èşù (Patrice Naiambana, who also plays Iwalagba), wanders the stage as an enigmatic deity.  Less enigmatic, and thoroughly involved in the action, is Aderemi’s friend Ashadele (Mo Sesay).  Jude Akuwudike also plays Opaleye, courtier to the king and emperor, Iwalagba.

The costumes (Kevin Jenkins) are fabulous, as with other productions by Utopia Theatre.  Sumptuous colours abound, such as the costumes for Aderemi and his wife, Oyebisi.  Even the muted tones of Opaleye, as advisor and courtier, have a rich texture. Jenkins is also responsible for the very striking set, which manages to be both textured and minimalist at the same time.  There is a backdrop of the throne in a wall of carved columns and fabric, while the rest of the stage, bearing a carved staff and magician’s bowl, is empty.  The opening of the play is haunting.

Light (Alexandra Stafford) and sound (Rob Hart) do more than show the set and carry the actors’ voices.  There is music which adds to the premonition of what is to come.  Lighting, along with the sound, creates a mood and focuses your attention without distracting, drawing the audience in.

Crown of Blood is edge-of-the-seat spectacle theatre.

Crown of Blood plays at Crucible Theatre until Saturday 07 February. Tickets are available here.

Phil Scown has been a regular theatre-goer since his student days many years ago. Mysteries, thrillers, ghost stories, comedies and musicals are all part of his theatre diet. Phil writes short stories in a variety of genres, some of which have become screenplays. He likes to tour England, Scotland and France, nowadays by car rather than motorcycle. At other times Phil likes to cook and to drive his Caterham, though generally not at the same time.