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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Macbeth (An Undoing)

Macbeth (An Undoing)

Macbeth (An Undoing) Rating

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It seems to be a trend of late to take well-known stories and shift the narrative to one of the other characters in that world or perhaps take fragments unexplained and fill them, usually to great success.

Take ‘Wicked’ for example- no longer about Dorothy, but told from the heartache of being different as a green witch; or ‘&Juliet’, what if she didn’t kill herself for her first love and instead had taken time to discover herself? Even to a certain extent- ‘SIX’, telling the lives of history from the viewpoints of Henry the 8ths six wives.

Here in the Malthouse Theatre’s newest production: ‘Macbeth ( An Undoing)’, playwright Zinne Harris has aimed to play with those ideals, taken the much-known and loved Scottish play, and endeavoured to get the audience to examine it through an alternate lens. Was it, as told, Lady Macbeth who had trouble sleeping and guilty, or was it really Macbeth himself? Was it perhaps the woman behind the man, hungry for power, that led to the downfall and even the one who killed Macbeth?

Reimagined versions of Shakespeare are not uncommon. There have been gender and colour-blind casting, set in modern times, simplified versions, mounted productions in the future, and more. Typically, there is something to say about taking a classic piece and making it speak to a current audience. It’s an interesting premise that “you have only heard half of the story”, although this may not work for those unfamiliar with the play. For those who know the story well, fragments of well-known moments are hinted at, then quickly removed, leaving one sometimes wondering where and what is happening.

For me, the star of the show and what holds the peace all together is the incredible set by Dann Barber. A revolving set that feels like it has endless rooms, between each rotation, by what can only be described as magic, when previously viewed sides return into view only to be completely re-imagined with unseen doors, blood-splattered walls, falling snow, and crows. Crows galore. Ever watching, looking down on the mess and greed of humankind and constantly revolving clockwise as the actors pace from scene to scene and highlighting the “undoing” by using those moments of madness to cycle the stage anticlockwise.

Amelia Lever-Davidson’s lighting is brilliantly moody and takes the small cramped, though imposing spaces of Barbers set, and miraculously fills them without leaking into the next rooms or spilling out onto unwanted spaces. The constant lurking sound of birds flying above and a hum of ever-present doom is faultlessly executed by Sound designer and composer Jethro Woodward.

There is a lot to appreciate. In a time when cash is tight, and streaming is the go, it takes courage and a leap of faith to try something new, and it is undoubtedly a great way to get people out to the theatre. Overall, the play didn’t quite work for me, but other people I spoke to loved it, and there were even people who felt a standing ovation was in order.

I do consider MacBeth (An Undoing) worth seeing. Great theatre should have you talking, questioning, arguing, and thinking about it days later. So I can only say, go and see it, and decide for yourself. Show your support for new ideas and works and grab your tickets to Macbeth (An Undoing), which runs through July 28th, with sessions running Tuesday through Sunday at 7:30 p.m.

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.

Photographer: Jeff Busby

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A Mid-Autumn Night’s Frenzy Of Laughter And Joy

A Midsummer Night's Dream

A Midsummer Night’s Dream Rating

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Often, the idea of seeing a Shakespearian play conjures up similarities to visiting the opera, symphony, or ballet. There’s a stigma of intelligence, stuffiness, sophistication, and class. You don’t normally consider Macbeth or Hamlet a fun night out with the family. But Shakespeare wrote his plays for everyone, and A Midsummer Night’s Dream was always meant to be a fun comedy, not some academic undertaking. This performance by the Australian Shakespeare Company maintains that tradition while celebrating its 35th year.

I thought about this perception of Shakespeare as I crouched down into my low-rise chair on the lawn, wine in hand, and stared at the empty stage in front of me. The air was cool, and the sky was clear. Behind the stage, the trees of Centennial Park were lit up to form the perfect backdrop to this magical play.

I initially felt a little let down, expecting a more elaborate set-up for a larger, more spectacular show, making the most of the location amongst the trees. Instead, I looked up at a raised stage with a few stairs dressed up with vines and leaves. Then, all of a sudden, a golf cart-style greenskeeper vehicle raced up a ramp onto the stage, and the Athenian players, modernised for contemporary times, burst into a frenzy of audience announcements mixed with their planning of a play within the play. It set the tone well, and the couple beside me were immediately in hysterics. But I needed a bit more warming up, and so I sipped my wine cautiously as the story began…

The energy was electric, and the play moved along at a rapid but carefully controlled pace. Modern humour was added throughout the classic dialogue, which flowed along seamlessly. This helped to keep a well-worn play fresh and entertaining while staying true to the original material. Most of this came through the Athenian players, but even our lovers had plenty of modern quips and references that never felt intrusive or disrespectful.

The soundtrack cleverly used well-known tracks that often triggered the audience to sing along. There was a Taylor Swift Eras Tour joke at one point because even Shakespeare can’t escape her orbit. All around me, groups of friends, partners, and colleagues were turning to each other and gasping, ‘This is so amazing! How good is this!’

The cast gave it their all, sometimes a bit too much, with only one scene becoming a bit hyperactive. The humour was often cartoonish, in a good way, with body language replicating characters from Loony Tunes cartoons, such as the love-sick Lysander and Demetrius floating along on Tiptoes after Helena. You’ll know it when you see it. This cartoonish energy worked well with the fantasy feel of the play. While the Greek lovers, players and Aristocracy were dressed in what seemed like 1990s-inspired suits, dresses and overalls, our fairy kingdom was wisely kept fantastical.

The audience became more vocal as the play progressed, and the wine flowed. The performers all encourage cheers, laughs, clapping, and whooping. When Oberon’s coat was caught on a trapdoor on his way onto the stage, Hugh Sexton broke character and declared to the crowd ‘what an entrance!’ to which they cheered and clapped. The whole point of the play, and the way it’s delivered, is to have a great time.

Once the lover’s quarrel is resolved and the wedding takes place, the Athenian players take to the stage within the stage.
That’s when the whole performance goes into manic overdrive. Layer upon layer of humour and inventiveness energised the audience. Details like the ‘director’ mimicking the actor’s performances, the reactions of Theseus and Hippolyta, actors not in the central performance, adding a few jokes, there was always something going on.

And when it was all finally over, I didn’t mind that my initial expectations of some visual spectacular had not been met. The staging was subdued, and I was disappointed that the big fog cannons and fireworks only came on at the end, but something even better happened. I left with a smile on my face.

I’m not sure what a serious Shakespearian scholar would think of this performance. I hope they simply had a great time, along with all the other adults, young kids, and even middle-aged kids like me. So, if you want a god-natured fun night out with a lot of laughs, be sure to get there while you can. And don’t forget to bring some nibblies and a blanket, because the weather is starting to turn cold out there.

A Midsummer Night’s Dream Under the Stars is playing at the Centennial Park Belvedere amphitheatre until the 28th of April, with a range of ticket prices to suit your budget.

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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OZ Acts As You Like it

OZ Acts As You Like it

OZActs’ rendition of William Shakespeare’s “As You Like It” at the Williamstown Botanic Gardens provided an accessible and high-quality theatrical experience.

Despite rain earlier in the day, the setting of the Botanic Gardens provided a perfect backdrop. The atmosphere outside the performance space was immediately immersive, with people dressed in period costumes milling about, playing music, and interacting with the audience before the show commenced.

One of the highlights of the production was Rosalind’s portrayal, whose expressive movements and charismatic presence captivated the audience from the start. Touchstone (the court Jester) also stood out, entertaining the crowd before the show and during intervals with his witty antics. He even indulged in playful banter with the audience, encouraging them to throw fruit at him.

Despite the inherent complexity of Shakespearean language, the play was easy to follow, pleasing the wide audience, which included many family members of the cast (which Touchstone pointed out to the audience) and children. Song interludes helped set the scenes, and classic lines such as “all the world’s a stage” were delivered poignantly, resonating with the audience.

The chemistry between cousins Rosalind and Celia was another standout aspect of the performance, particularly in scenes involving scheming and plotting. The actors delivered every line with confidence, and the quick costume changes between characters were executed impressively, adding to the dynamic nature of the production (noting that the whole production was outdoors – so there was no traditional dressing room!).

The side and background characters added layers of comedy to the play, contributing to its light-hearted and comic tone. Despite this, the production skillfully balanced the humour with the darker subject matter, reminding the audience of the characters’ banishment by the Duke.

The outdoor setting was utilized to its fullest potential, with the production cleverly using the space. For example, during a scene where a character hangs love poems about Rosalind, blank scrolls are hung on tree branches, enhancing the immersive experience.

The costumes were exemplary period pieces, with each outfit contributing to the characters’ disguises and identities. From the intricate details to the versatility of accents and mannerisms, the costumes added depth to the characters and the overall narrative.

The production maintained a high energy level throughout despite the challenges of staging an outdoor play in unpredictable weather conditions. Moments such as Rosalind fainting and needing to be carried (“Counterfeit, I assure you”) provided memorable highlights, showcasing the actors’ commitment to their roles.

Overall, OZActs’ “As You Like It” production at Williamstown Botanic Gardens was a delightful rendition of Shakespeare’s timeless classic.

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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