Coriolanus, written by William Shakespeare and starring David Oyelowo as the titular character, tells the story of a disastrous career change and Lindsey Turner’s production feels like a remarkable Hollywood movie unfolding before your eyes. With its larger than life set, exciting sword fights, and incredible lighting and sound, Turner presents an energetic interpretation of Rome’s chaotic early years. Following Rome’s spectacular victories and expansion, led by Coriolanus, the questions occupying many people’s minds is who should govern as Consul? Should Consuls continue to be chosen from the domineering aristocratic warrior class or should power be extended to the plebeians, who are being ingested into this new sprawling Roman Empire?
Lindsey Turner’s production probs these questions with a palpable urgency. The play begins with protests against Coriolanus, who has been chosen to be Consul, a public official of high rank and prestige. David Oyelowo delivers an outstanding portrayal of Coriolanus– as a fearsome, decisive, charismatic general famous for his relentless pursuit of the enemy. Despite his exemplary leadership on the battlefield, Coriolanus soon discovers that his record doesn’t translate into political capital. His pride and quick temper, especially to strike against minor threats, fuel the controversy surrounding his appointment. Instead of being flexible to the demands of the people, Coriolanus falls back to his rigid military ways of vanquishing the enemy.
Yet, Rome is at a turning point; the public now demands greater input in choosing its leaders. They want to speak directly with the Consuls, a demand that Coriolanus strongly resists. Why, he argues, should he parade himself around, showing off his battle scars to satisfy the demands of an ungrateful public? Shouldn’t his credentials, his bravery, discipline and loyalty speak for themselves? Coriolanus’ refusal to appease the people is seen by his opponents as disdain towards the public he is supposed to serve. They accuse him of arrogance and tyrannical tendencies, by dismissing the legitimate demands of the people. When Coriolanus is eventually rejected and exiled, he turns his ire against Rome, proving his critics right and, at the same time, betraying his illustrious legacy.
Overall, the cast delivers mesmerizing performances. Oyelowo is superb as a regal, ferocious soldier struggling to understand his footing in this new Rome. Pamela Nomvete, is equally captivating as Coriolanus’ dedicated mother and his staunchest supporter. She gently tries to cajole her son to adapt to the new political climate, reminding him that brute force alone won’t solve his problems. Stephanie Street and Jordan Metcalfe also hold their own in this play, skillfully playing Coriolanus’ political antagonists, taking advantage of the shifting political landscape to usurp power from the elites. There is just so many tremendous moments in this play but Oyelowo’s portrayal of Coriolanus in exile is chilling; here we see a man coming to the realization that there is no place for him in this new Rome. The skill sets that brought him so much success are now outdated.
Coriolanus playing at the National Theatre in London thru Saturday 9 November 2024.
