A Tale of Two Judgements: Why Northern Broadsides' 'All's Fair' Divided the Critics So Dramatically

Ah, the theatre. A place where stories come alive, where emotions ebb and flow, and where, sometimes, critical consensus seems to completely fracture. Case in point: Northern Broadsides’ latest offering, 'All's Fair in Love and War,' currently gracing the stage at Halifax’s very own Viaduct Theatre. By all local accounts, it’s a resounding triumph, a bold reimagining of Shakespeare that has captivated audiences and critics alike. And yet, if you were to glance at the behemoth that is Rotten Tomatoes, you'd find a rather brutal 25% score staring back at you. Quite the conundrum, isn’t it?

You see, this isn't just another Shakespeare adaptation. Oh no. Under the discerning eye of director Laurie Sansom, 'All's Fair' takes the weighty saga of Henry IV – both parts, mind you – and compresses it, distills it, then thrusts it unceremoniously into the bleak, yet hopeful, landscape of 1947 Britain. It’s a fascinating conceit, placing the machinations of power, the pangs of succession, and the fraught father-son dynamics of King Henry and Prince Hal against a backdrop of post-war austerity. Falstaff, Hotspur, all the familiar faces are there, but seen through a lens coloured by rationing, nationalisation, and a society grappling with its new identity.

And, honestly, it seems to have worked wonders for those who’ve actually seen it. Review after review, from those closest to the action, have lauded the production's sheer energy, its inventive staging, and its commendable accessibility. They speak of performances that crackle with life, of a narrative made fresh and immediate, resonating with a contemporary audience despite its historical roots. There’s emotional depth, a palpable sense of the human condition, all delivered with Northern Broadsides’ signature grit and passion. It's a play that, by all local measures, connects profoundly.

But then, there's that Rotten Tomatoes score. A mere quarter. It makes you pause, doesn't it? One might wonder what precisely led to such a stark divergence. Is it the inevitable clash between traditionalists and those who dare to reinterpret? Perhaps the aggregated 'professional' view, when stripped of context and local nuance, simply misses the heart of what Northern Broadsides strives to achieve – theatre for all, made relevant and engaging, not just a dusty academic exercise. Or maybe, just maybe, some critics, somewhere, simply didn't connect with this particular vision. It happens, for sure.

In truth, the disparity serves as a potent reminder of the subjective nature of art, and perhaps, the evolving role of critical assessment in our digital age. Does a percentage point truly capture the thrill of live performance, the collective gasp, the shared laughter, the quiet contemplation of an audience? Or is the roar of approval from a packed house, the buzz of post-show conversation, a more authentic metric of a play’s success? For now, at the Viaduct Theatre, 'All's Fair in Love and War' continues its run, defiant in its inventiveness, leaving behind a trail of delighted patrons, and a critical mystery that's quite frankly, rather intriguing. It makes you think, doesn't it, about whose 'fair' we truly value in the end.