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Verona Takes Centre Stage in Shakespeare-In-Between: Romeo & Juliet

16 November 2024 Emelia May

Shakespeare-In-Between: Romeo & Juliet Rating

★★★★★

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Romeo and Juliet, famously, only had eyes for each other. But what about the rest of poor old Verona? Enter ‘Shakespeare-In-Between: Romeo & Juliet’. In a new play created by Scott Jackson and Sorcha Breen, the townspeople of Verona are plucked straight from the margins of Romeo and Juliet’s romance and into the spotlight, revealing the hidden tensions, messy relationships and unlikely friendships across feuding houses.

As the Bard himself would say, ‘All the world’s a stage,’ and for this show, it couldn’t be truer. Set outdoors among flowering gardens, brisk breezes and the striking silhouette of a Victorian bluestone church, ‘Shakespeare-In-Between: Romeo & Juliet’ offers a little slice of Renaissance Italy in South Melbourne. Nature plays a leading role in fair Verona’s story: golden sunsets bathe star-crossed dallies, giving way to eerie twilight skies and the darkness of nightfall as misfortune and grief take hold. In a town doomed by the narrative, the passing of day only made it all the more inevitable.

Admittedly, my ‘Romeo & Juliet’ knowledge was a bit dusty going in. High school English and a few blockbuster flicks left me with only the broad strokes (boy meets girl, mum and dad disapprove, preventable tragedy ensues). For proper buffs, following along might have been a real ‘Shakespeare in the Park’, but I found myself losing the thread here and there. Perhaps a narration of some sort could have helped us novices stay on track with the plot – though to be fair, it’s one of the most famous plays ever written, so that might be on me.

That said, I thoroughly enjoyed the characters, even when I couldn’t quite place their original roles. And there were plenty of them too! The small cast of nine took on some thirty parts, juggling a number of personalities at the drop of a velveteen doublet.

Underexplored characters flourished in ‘Shakespeare-In-Between: Romeo & Juliet’: Rosaline (Seon Williams) reclaimed her role with headstrong resolve, while Peter, the bumbling butler (Scott Middleton), provided plenty of comic relief. The Nurse (Helen Hopkins) was delightfully extra, and Paris (Oscar Morphew) hilariously daft.

Meanwhile, familiar figures like Lady Capulet (Renee Palmer), Lord Capulet (Myles Tankle), Tybalt (Jett Chudleigh), Mercutio (William Hassal), and his companion Balthazar (Wolfgang Reed) brought depth and loads of charisma to their roles, commanding attention with every appearance. Together, their portrayals offered a compelling glimpse behind the curtain of the tragic teen tryst – and the destruction left in its wake.

‘Shakespeare-In-Between: Romeo & Juliet’ brings together a versatile cast of actors, comedians, musicians – even swordfighters (seriously, I’m expecting swordfights in every play now). Their talent packed into one cohesive, dynamic ensemble made for a fantastic showcase of Melbourne’s independent theatre scene. Bravo!

Pack thy best picnic blanket and join the good people of Verona for an evening of wit, music and top-notch live theatre. ‘Shakespeare-In-Between: Romeo & Juliet’ is playing at St Kilda South Port Uniting Church until November 23 – to miss it would be a tragedy.

To book tickets, please visit https://events.humanitix.com/shakespeare-in-between-romeo-and-juliet

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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Feared and Revered – The Women of Shakespeare

20 October 2024 Paige Jenkins

Feared and Revered – The Women of Shakespeare Rating

★★★★★

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‘Feared and Revered—the Women of Shakespeare’ at the Genesian Theatre amalgamates several of Shakespeare’s well-known characters, scenes, and plays with modern backdrops and ideologies. The play, written and directed by Tui Clark, transports its audience to a place where Shakespeare’s women are allowed to have complexities and contradictions all at once, other than the usual good/bad, married/unmarried dichotomies.

The Genesian Theatre itself added to the essence of performance. The beautiful stained-glass windows and intimate size made it easy to become part of the story, especially when actors would situate themselves in or around the audience for entrances or exits.

It was interesting to see how different soliloquies and passages were paired together to create a tapestry of womanhood and femininity of the past and present. I also loved the simplicity of the props and costuming. A tie or a feather boa was enough to symbolise a different character and the location in which these women found themselves together. I especially loved the technical elements that added to the themes of each scene. Layering voices that led into a beautiful delivery of ‘All the World’s a Stage’, from As You Like It to begin the show was a beautiful tie-in with the ‘stages’ of womanhood that followed.

The cast was an incredible collective of women who brought to life 30 women across Shakespeare’s collection of works. It was difficult at times to understand what was being said, but it made it feel more authentic, as a lot of Shakespearean language was completely made up. All audience members were in the same boat when it came to simply listening to the dialogue rather than taking in the context in which it was being said.

Some of the more famous monologues or characters were much easier to spot, but the lesser-known characters or plays had to be viewed in context. It’s important to remember that you’re not supposed to grasp the meaning behind each word spoken immediately, but the way the words are spoken and in which scenes they’re performed in.

Among the talented cast, Liz Grindley stood out with an exceptional stage presence and managed to capture the essence of Cleopatra (among others) in her final moments. The ease with which she moved around the stage and carried each woman in her words and body made it difficult to look away from her, even when she was not speaking.

Charlotte Bromley gave her all to each character, whether the provocative Witch from Macbeth or the hysterical and grieving Ophelia. Bromley captured the audience’s attention and gave them a performance that transcended language.

The closing monologue from Taming of the Shrew, performed by Ali Bendall, was delivered with such reverence and emotion that I had to immediately go and search it up just to read it again. Despite obviously being written by Shakespeare several hundred years ago, Bendall made it her own. In those few moments, I was completely in awe of what was coming out, and you could have told me that she wrote it herself or went off script to say what she was thinking, and I would have believed you.

I recommend grabbing a ticket for yourself and some friends and family to see this beautiful performance before the curtain closes. Even if you don’t know a lot of Shakespeare, these women bring their own elements to the timeless dialogue that draws you in and captivates.

Don’t miss out on these remaining performances – Wednesday, 23rd, and Thursday, 24th October at 7:30pm and Saturday, October 26th, at 2:30pm.

Grab your tickets from https://GENESIAN.sales.ticketsearch.com/sales/salesevent/138915

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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King Lear: Presented by The Theatre Guild

17 August 2024 Barry Hill OAM

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)

14 July 202413 July 2024 @thebenmurphy_

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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