King Lear: Presented by The Theatre Guild

King Lear

King Lear Rating

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The University of Adelaide Theatre Guild have placed their production of King Lear in a post-apocalyptic dystopian setting which is set amidst the madness of a world in ruins more than reminiscent of the Mad Max series. I would not have been surprised if Dementus (Chris Hemsworth) walked in to play the old deranged king, there are a number of parallels.

Director Brant Eustice says, “There is enormous joy to be found in Shakespeare’s universal themes and a brilliance in his writing which not only allows, but also encourages theatregoers to continue exploring the depth, complexity and beauty of his stories in new styles. Due to a global calamity, civilisation as we view it has collapsed and has returned to the ways of a distant past. We find ourselves in a world which is slowly trying to rebuild itself.”

This production succeeds in most ways, but does not always achieve Eustice’s aims.

For those who don’t know the play, King Lear is based on the legend of Leir of Britain. Lear decides to divide his kingdom among his three daughters, but he is deceived by the flattery of Goneril and Regan, who turn against him, and he banishes the loyal Cordelia, who loves him. Lear becomes mad and wanders in a storm, while Cordelia returns with an army to restore him. The play ends with the deaths of Lear and his daughters.

According to the esteemed critic Frank Kermode, “the play…offers neither its good characters nor its audience any relief from its cruelty”. I disagree with Kermode in that while cruelty is more than evident, there is an abundance of humour in the play which Eustice highlights.

Every centimetre of the Little Theatre is used to advantage and thanks to Eustice’s direction, the scene changes are quick and efficient, and the characters are well developed.

His direction is complemented by Kate Prescott’s set design, Lisa Lanzi’s costume design, Richard Parkhill’s moody lighting, Sean Smith’s sound design. Michael Green’s original haunting music and Anne-Louise Smith’s hair teasing and primping.

This production features 16 performers, some playing multiple roles.

Michael Eustice joins an illustrious list of actors to play Lear; Orson Welles, Christopher Plummer, Ian McKellen, Derek Jacobi, and Glenda Jackson to name a few. Eustice’s Lear is bombastic, demanding and convincing in his decent into madness. His scene with the dead body of Cordelia is memorable.

Sharon Malujlo’s Kent holds the narrative together, especially when in disguise and provides comic relief to the more sombre sections of the play.

Robert Baulderstone’s Edgar is compelling to watch. His physicality is wonderful and his voice crystal clear. His ‘naked’ scene is a highlight of the play!

Sean Flierl’s Edmund is appropriately villain-like as he plots against his father and brother. His swordplay with Edgar is frighteningly realistic.

Geoff Revell as Fool steals every scene with carefully delivered wisdom and the occasional breaking of the fourth wall to include the audience. I loved his scene with Lear on the mezzanine level of the theatre.

As the three daughters, Georgia Stockham as Goneril, Rebecca Kemp as Regan and Rhoda Sylvester as Cordelia all deliver solid work, but there were some problems with diction and projection at times that resulted in some of the dialogue being lost when their backs were turned or voices raised.

Tracey Walker is a commanding Albany with one of the clearest Shakespearean deliveries I have heard.

Director Brant Eustice replaced Mick Young (who had to withdraw due to illness) as Gloucester gives us a moving performance, particularly in act 2 when his eyes are gouged out.

Imogen Deller-Evans, Mike Leach, Harry Passehl, Tony Sampson, Tom Tassone, and Lizzie Zeuner complete the cast playing multiple roles.

Being a long play (even with cuts), it might have been advisable to start this production at 7pm.

King Lear is one of the Bard’s greatest works and the University of Adelaide Theatre Guild’s production is well thought out and delivers some fine performances. I think the Bard would approve of the new setting!

Barry Hill OAM

For Tickets:-
https://www.adelaide.edu.au/theatreguild/

Ticket Information
$25 Full Price
$20 Concession / Tertiary Student

Performance Dates
Friday 16 August at 7:30pm
Saturday 17 August at 7:30pm
Sunday 18 August at 4pm
Wednesday 21 August at 7:30pm
Thursday 22 August at 7:30pm
Friday 23 August at 7:30pm
Saturday 24 August at 7:30pm
Sunday 25 August at 4pm

Venue
Little Theatre
The Cloisters, Victoria Drive, University of Adelaide
Please allow extra time for parking, especially when there is an event at Adelaide Oval.

Duration
2.5 hours plus interval

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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St Jude’s Players Presents Silent Sky

Silent Sky

Silent Sky Rating

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Silent Sky is a historical dramatisation of the life of Astronomer Henrietta Leavitt written by American playwright Lauren Gunderson. It is an important story about the unique challenges surrounding the pursuit of achievement, particularly for women.

It explores the difficult decisions Leavitt faced in pursuing knowledge and fulfilling expected societal roles. Set during a time of social change in the early 1900s, the themes are still relevant today in many ways.

Henrietta Leavitt, born in 1868, discovered a relationship between the luminosity of pulsating stars known as Cepheids and distances. Her work is intrinsic to understanding the magnitude of the universe and is relied upon by Edwin Hubble, amongst others.

A sparkling cast of four women gave strong performances. Brittany Daw, as Henrietta, the protagonist of the play, was very endearing. Brittany balanced Henrietta’s strength with her humanity in the challenges she faced. Tianna Cooper, as Margaret, juxtaposed Henrietta so beautifully as a woman with a different sense of purpose.

Joanne St Clair’s performance as Williamina Fleming was excellent. Her Scottish accent was fantastic, and her delivery of Williamina’s flawless punchlines was spot on. Deborah Walsh’s performance as Annie Jump Cannon, a strong supporting female role, delivered comedy, strength, and warmth—a difficult combination executed perfectly.

Josh Van’t Padje, as Peter Shaw complimented these twinkling stars with his own stage luminosity, jumping well from a harsh Harvard supervisor to a coy suitor and eventually a somewhat confused and heartbroken man.

The set design, music, and lighting were particularly well executed, particularly with the abstract nature of the scene transitions and locations. I must confess I was particularly impressed by the majestically sized telescope centre stage! The costumes reflected the period well. The performance was well received by the audience.

Overall a stellar performance of Silent Sky by the St Judes players and Director Lesley Reed. St Judes Players community theatre group in Brighton has its 75th Diamond Anniversary this year. Silent Sky’s production is a twinkling diamond achievement for all involved.

I would recommend it to everyone. It is an inspiring, witty, and warm depiction of the challenges women face in following their dreams.

Don’t miss out – there are only two shows remaining, the 16th & 17th of August!

For Bookings:-

Telephone: 0436 262 628
Email: bookings@stjudesplayers.asn.au
www.stjudesplayers.asn.au

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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The Questions

The Questions

The Questions Rating

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State Theatre Company SA proudly unveils the world premiere of the latest collaboration between playwright Van Badham and composer Richard Wise—a modern and heartwarming rom-com that elegantly explores how simple, honest questions can cultivate profound connections and lead to love.

Set against the unique backdrop of the COVID-19 pandemic, “The Questions” tells the engaging story of a couple whose initial blind date is indefinitely extended due to a lockdown announced just as the visitor is about to make her emergency exit.

As their time together stretches into weeks, and in the absence of any internet or mobile phone coverage, the couple turns to Arthur Aron’s renowned intimacy-building questionnaire, featuring 36 questions designed to pass the time and, in an effort to foster a deeper understanding and acceptance of each other.

Van Badham’s script masterfully combines humour with genuine emotion, delivering dialogue that feels both authentic and relatable. The narrative captures the essence of emotional exploration and connection, with each musical number and piece of dialogue peeling back the layers of the characters, revealing traumas and fostering empathy.

The performances by Chaya Ocampo (Visitor) and Charles Wu (Resident) are compelling and dynamic, and their chemistry illuminates the stage. Their portrayal of a seemingly mismatched couple is both engaging and heartfelt, drawing audiences into their evolving relationship.

The inclusion of the neighbouring rock band adds an additional layer of charm and humour. Their role as observers of the couple’s journey provides a witty counterpoint, while their lively musical contributions enrich the production.

Jeremy Allen’s set design is exemplary, capturing the essence of modern, minimalist living. The compact lounge and kitchenette evoke a sense of social claustrophobia that heightens the intimacy of the narrative. Gavin Norris’s lighting design is particularly effective, creating the illusion of different settings and cleverly adding an urban chic touch with its cityscape backdrop.

Director Mitchell Butel demonstrates remarkable skill, seamlessly blending theatrical and musical elements to bring this vibrant and heartwarming production to life. Even those who are not typically fans of rom-coms or musicals will find themselves captivated by the production’s witty dialogue, clever lyrics, and the powerful message about connection despite differences.

The audience’s response was overwhelmingly positive, with laughter resonating throughout and a standing ovation for the cast. “The Questions” stands as a thoughtful and humorous exploration of human connection in an era dominated by digital facades. It eloquently demonstrates that true beauty lies in the courage to share our authentic selves—flaws and all.

Buy your tickets @ https://statetheatrecompany.com.au/shows/the-questions/ for one of these upcoming performances:-
Mon 5 Aug 2024, 6:30 pm
Tue 6 Aug 2024, 6:30 pm
Wed 7 Aug 2024, 6:30 pm
Thu 8 Aug 2024, 7:30 pm
Fri 9 Aug 2024, 7:30 pm
Sat 10 Aug 2024, 2:00 pm
Sat 10 Aug 2024, 7:30 pm
Mon 12 Aug 2024, 6:30 pm
Tue 13 Aug 2024, 6:30 pm
Wed 14 Aug 2024, 11:00 am
Wed 14 Aug 2024, 6:30 pm
Thu 15 Aug 2024, 7:30 pm
Fri 16 Aug 2024, 7:30 pm
Sat 17 Aug 2024, 2:00 pm
Sat 17 Aug 2024, 7:30 pm

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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Symphonie of the Bicycle

Symphonie of the Bicycle

Symphonie of the Bicycle Rating

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4

Step into the captivating realm of “The Symphonie of the Bicycle,” where the stage comes alive with the stories of two captivating characters, both embodied by the versatile Hew Parham under the direction of Adelaide legend Chris Drummond.

In a masterful tribute, Parham interlaces the narratives of Gino Bartali, the revered Italian cycling legend, and Hew, an embittered soul haunted by the spectre of a childhood rival’s success.

With palpable fervour, Parham breathes life into Bartali’s heroic exploits, recounting his triumphs in the Giro Italia and the Tour de France amidst the tumult of family tragedy and World War II. Through Parham’s portrayal, we witness Bartali’s indomitable spirit as he defies adversity, even clandestinely aiding persecuted Jews under the guise of training rides.

Yet, amidst the grandeur of Bartali’s tale, Hew emerges as a poignant contrast—a solitary figure, adrift in his discontent, until an unexpected encounter with fitness luminary Jake Johnson sets him on a path of self-discovery. As the narrative weaves between their stories, Parham’s performance dazzles, effortlessly shifting between accents and emotions with impeccable timing and boundless charisma.

Simple yet evocative staging, with a lone black stage adorned by a golden bicycle and intermittent props, invites the audience to immerse themselves in the unfolding drama, while the deft interplay of lighting underscores the shifting moods of each character’s journey.

Parham’s comedic prowess shines through, eliciting laughter and engagement from the audience, transforming moments of introspection into shared moments of joy and connection. The performance culminated in a rapturous standing ovation, leaving the audience both entertained and enlightened.

As the curtains draw to a close, Parham’s poignant reflection—”I was so busy trying to be someone else I forgot to be me”—lingers in the air, a poignant reminder of the power of authenticity and the importance of embracing our true selves. “The Symphonie of the Bicycle” entertains and inspires, inviting us to pedal forth on our unique journeys with renewed vigour and purpose.

Symphonie Of The Bicycle is now showing at the Space Theatre in the Adelaide Festival Centre from 14th May to 25th May 2024.

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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