Few directors describe their vision as muscular, but that is exactly how Sonya Suares approaches Melbourne Shakespeare Company’s Cleopatra & Antony. She is tackling one of the Bard’s most ambitious works; a play that refuses to sit neatly within any single genre, blending tragedy, history, romance and action-adventure into something genuinely wild.
Meet The Director – Sonya Suares
What is this production about?
What is it not about? Empire, politics, love, war, legacy, factions, strategy, betrayal … and getting across the chess board of life on your own terms/ with what you hold dear intact.
What drew you to this particular work, and why now?
This play is one of the Bard’s most genre-bending works. It’s simultaneously a tragedy and a history and a romance and an action-adventure epic. It’s absolutely wild staging this work at this particular geopolitical moment, given its conceit: a contest of empire and ambition that famously reaches its climax with a naval-impasse-turned-all-out-showdown in a narrow body of water – one not so far away from the Strait of Hormuz.
How would you describe your directorial vision for this production?
Muscular. For all our fascination with the titular characters, this is an ensemble work. And we have a rockstar ensemble – this cast are already deep into the world-building that has to happen for audiences to invest in the fates of Cleopatra and Antony.
What is your process for working with actors to find the truth in a scene?
With heightened text, I tend to sketch on the floor first so we can all feel free to work in draft, and feel into the rhythm and dynamic of the world we’re building together. That way, actors are able to make offers that resonate both within framework of the play and that tap into their own experience as humans. Actors are very good at mining for truth if you get the parameters right.
Is there a moment in the show that has surprised you in how it has come together?
We’re just getting started but already the physical score of this work is gripping. It electrifies and energises the actors in the room – I think it’s going to be the same for audiences.
How do you balance your vision with the creative contributions of your cast and team?
Theatre is a collaborative endeavour and I love an offer. I mean, not every single offer is gold but if you get the right folk in the room, I believe you benefit from the many eyes, ears and minds attuned to making your vision for the production as taught and multi-faceted as possible.
What do you hope audiences are thinking about on the drive home?
That these seemingly distant moments in history are closer to us than we think. That we repeat and relive them over and again. Of what it means when a whole way of life is at stake, or a civilisation is destroyed. Of whose voices are heard and whose are lost.
On a nerdy note, I hope audiences are stirred to know more about Cleopatra and Antony. Their fate unfolds within the context of the world’s first all-out propaganda war and a real sliding doors moment in history. I mean, the very name we use for the month our show opens – August – is an honorific tied directly to the events in this play. It’s uncanny – and endlessly fascinating.
Our thanks to Sonya Suares for sharing her perspective on this fascinating production. For anyone curious about the propaganda wars, sliding doors moments and historical echoes she describes, tickets for Cleopatra & Antony at fortyfivedownstairs are available now.
Shakespeare is too often treated as something reserved for the “smart kids”. For many of us, our entire experience of Shakespeare amounts to a few compulsory weeks in Year 9 English before we leave it behind forever – a confusing whirlwind of unfamiliar language that never quite comes alive. What I admire most about Tom Healey’s production of Romeo and Juliet is that it refuses to accept that this is how Shakespeare should be experienced.
This is Shakespeare for everyone.
I attended the schools’ performance, with numerous school groups filling the theatre, and spent almost as much time watching the audience as I did the stage. What struck me was the diversity of those attending. Students from a wide range of schools across Perth filled the theatre. Yet regardless of background, there were no yawns, no glazed expressions and no restless fidgeting. Instead, students were engaged, laughing, reacting to the action and leaning into the story.
I also attended with my 10-year-old son and, despite the recommended age of 14+, found the production entirely appropriate for younger theatre-goers. He was captivated throughout, with the energetic fight scenes proving a particular favourite.
Get the kids in early. Get them watching. Get them understanding.
This is what Shakespeare was always meant to be: living theatre. Not something admired from afar, but something experienced, debated, laughed at and felt.
WAAPA’s graduating acting students, under Healey’s direction, deliver a vibrant, accessible and highly entertaining interpretation that brings Shakespeare’s most famous love story firmly into the 21st century.
From the outset, it is clear that movement will be central to the storytelling. Tyrone Earl Lraé Robinson’s choreography and movement direction are standout features, infusing the production with energy, sensuality and visual excitement. More than simply providing spectacle, the movement becomes a storytelling language in its own right. Relationships, power struggles and emotional shifts are often communicated physically before a word is spoken. The result is a production that feels constantly alive and in motion.
The dance sequences are a particular highlight, providing moments of joy, connection and visual flair that offer a welcome counterpoint to the production’s violence. Beautifully performed and seamlessly integrated into the action, they elevate the storytelling and rank among the afternoon’s most memorable moments.
Before the performance even began, a heartfelt Welcome to Country set an authentic and respectful tone for the afternoon. Rather than feeling procedural or rehearsed, it felt genuine and sincere, creating an immediate connection with the audience. The ensemble is consistently strong, with several performances standing out.
Tom Kelly’s Mercutio is undoubtedly one of the production’s greatest assets. Taking bold risks both physically and emotionally, Kelly creates a character bursting with charisma, humour and unpredictability. His comic timing is impeccable, and his stage presence is magnetic. Even in scenes packed with talented performers, it is difficult to look away from him. Mercutio provides much of the production’s comic relief, but Kelly also ensures there is depth beneath the bravado, making the character’s fate all the more impactful.
Daniel Halmarick impresses as Benvolio and may well be the most technically accomplished performer on stage. Possessing a rich, resonant voice and exceptional clarity of speech, he handles Shakespeare’s language with confidence and ease. He has the kind of vocal authority and textual command that bodes well for a successful future on the stage.
Sarah Hindle’s Nurse is another standout. Endearing, funny and instantly recognisable, she feels less like a Shakespearean archetype and more like someone we all know. The broad Australian accent is a fun touch, helping bridge the gap between Renaissance Verona and contemporary Perth. Hindle brings warmth, humour and heart to every scene she inhabits, quickly becoming an audience favourite.
Griffin McLaughlin delivers a thoughtful Romeo, bringing emotional depth and welcome variety to a role that can sometimes become one-note. His performance balances youthful impulsiveness with genuine vulnerability and sincerity, giving the character substance beyond romantic idealism.
Holly Samaniego’s Juliet takes a little time to fully settle into the role. While her early scenes occasionally lack the spark and emotional urgency needed to fully ignite the character, she steadily grows in confidence throughout the performance. By the final act, she has won over the audience, bringing strength to Juliet’s tragic journey. The chemistry between the young lovers remains believable throughout and there are some funny scenes where they simply cannot keep their hands off each other.
Among the supporting cast, Sofia Watts deserves special mention for her portrayal of Lady Capulet. Despite being close in age to many of her fellow performers, she convincingly embodies Juliet’s mother, bringing authority, maturity and impressive vocal clarity to the role.
More significantly, the final scene lacks the emotional devastation the production has spent two hours building towards.
Throughout the play, blood packs are used symbolically. For much of the production, this visual motif works well. However, in the closing moments, the decision to rely on this symbolism rather than Juliet’s traditional knife proves less successful. Rather than heightening the tragedy, it creates a degree of theatrical distance at precisely the moment the audience most needs emotional connection.
Compounding this issue is the omission of Romeo’s final speech. Together, these choices diminish the impact of the ending. The final moments should leave the audience heartbroken. Instead, I found myself admiring the concept more than feeling the tragedy. I wasn’t reaching for a tissue; rather, I felt somewhat short-changed by a conclusion that lacked the emotional force the preceding scenes had so richly earned.
Yet these criticisms are relatively minor in the context of an otherwise impressive production.
Healey’s Romeo and Juliet understands something fundamental: Shakespeare survives not because he belongs to academics, teachers or literature students, but because his stories continue to speak to ordinary people. By prioritising clarity, accessibility, movement and a fresh look, this production throws the doors wide open and invites everyone inside. And judging by the students who filled the Heath Ledger Theatre, many were more than happy to accept the invitation.
For students encountering Shakespeare for the first time, seasoned theatre-goers and even younger audience members, this production demonstrates that these plays remain as powerful and relevant as ever. Judging by the response of the students around me – and one very enthusiastic 10-year-old theatre-goer – WAAPA’s graduating actors have ensured that Shakespeare’s spark remains very much alive.
Romeo and Juliet. Two starry-eyed lovers whose story ends in tragedy. This iconic and universally known play has been performed globally for centuries. The Shakespearean theatre group Come you Spirits’ performance of Romeo and Juliet onstage at the Darling Quarter Theatre, directed by Charles Mayer and Jo Mayer, was immersive.
Through the very first inclusion of the gentle tapping of a suspended gong by Charles Mayer, and the deep, beautiful sustained vibrational tones that Jo Mayer produced on the crystal singing bowl, the audience was introduced into the world of Shakespeare in a truly magical and harmonious way.
Romeo, played by Ciarán O’Riordan and Charlotte Edwards as Juliet performed the title roles. Both actors conveyed their characters’ young love with an earnestness and innocence, and in the second act, with the desperation and anguish that the characters needed. Who wouldn’t swoon with Romeo’s line, “Heaven is here, where Juliet lives.” O’Riordan aptly portrays Romeo’s intensity of his emotions, aligning Juliet with celestial skies, and taken alone without context of the whole quote, it is one romantic quote!
Edward’s delivery of one of my favourite lines was perfection – “My only love sprung from my only hate, Too early seen unknown, and known too late! Prodigious birth of love is it to me That I must love a loathed enemy.”
In one scene, Edwards was riveting as she faced the heartbreaking choice of following her father’s wishes of Juliet marrying a man he had chosen that she did not love, or face an uncertain future. Lord Capulet, played with a fierceness by Charles Mayer, had a cold stage presence which demanded obedience, or Juliet would be disowned and thrown out onto the street to survive on her own. This scene was particularly strong, and clearly conveyed as the turning point for Juliet’s future plans.
Mayer also played The Friar, the gentle well-meaning clergyman who secretly marries Romeo and Juliet in the hopes of bringing the two feuding families together, as well as being pivotal in providing the potion to Juliet. The two characters’ different personalities showcased Mayer’s acting talent.
Jo Mayer took on dual roles as Juliet’s Nurse and Tybalt. Her depiction of The Nurse was warm and nurturing, serving as a trusted confidante to Juliet. In stark contrast, Mayer brought great energy and passion to her portrayal of Tybalt, capturing their fiery temperament.
David Halgren accurately portrayed Mercutio as the lovable rogue that his character is. He captured the boisterous charm and brought a fiery zest to Mercutio, clearly shining and delivering the bawdy humour directly to the audience. His untimely demise, with the famous lines – “A plague o’ both your houses. They have made worms’ meat of me.” was hard hitting and led to a chain of events that shaped Romeo’s future.
All actors’ accents and, in my opinion, difficult cadence of the Shakespearean language was performed with flawless professionalism throughout the play.
Another original touch to Come you Spirits Romeo and Juliet was the setting. Verona was set in the barren post-apocalyptic land. The characters wore bandanas and gaitors to cover the lower parts of their faces, in part to disguise who they were and to protect themselves from the tumbling dust from sandstorms and brown leaves strewn around the stage. Lighting and sound played a large part in this play, with spotlights, sirens and announcements from the unseen higher hierarchy that alluded to a chaotic environment.
Lighting Design was by Adam Applebaum and the mood he created set the play’s authenticity to bringing our attention to where he wanted us to be.
Kudos to Brandon Read, who composed and performed original music for Romeo and Juliet. Together with his sound design, it completed this magical play. The audience heard Gregorian Chanting, and Read composed the tracks to Solfreggio frequencies, which throughout the show, aligned with our seven chakras.
This was a truly original experience, different to any Romeo and Juliet play I had previously seen. The characters’ movement around the theatre, into the area where we were, and talking to the audience gathered us all together. Shakespeare would have been impressed seeing this interpretation of Romeo and Juliet through Come you Spirits eyes. And he would have left feeling peaceful and fulfilled, at a night witnessing a tale of comedy and tragedy, ending with a grounding and beautiful meditation of gratitude to people and nature. This is a gorgeous production of Romeo and Juliet, do not miss seeing this and being taken away into the world of Shakespeare.
Romeo and Juliet is showing at Darling Quarter Theatre 20 – 22 May 2026 and at the Concourse Theatre Chatswood 28-30 May 2026 Tickets: www.comeyouspirits.com/in-sydney Running time: 2 hours with a 15 minute interval
Something wicked this way comes to Javeenbah Theatre – where fair is foul and foul is fair; Macbeth, directed and adapted by Brooke Edwards, is a bold reimagining of a timeless tragedy – set against the glitz and grit of mid twentieth century Las Vegas. Drawing parallels between Macbeth’s unhinged ambition – and ultimate downfall – with the destructive nature of gambling addiction, this layered and lively retelling is certainly not Macbeth as you remember it from high school English class.
For the uninitiated, Macbeth follows the rise and fall of the titular character who – spurred by his wife and with the assurance of witches – commits regicide to ascend the Scottish throne. The misdeed unleashes paranoia and intense guilt – unravelling the nefarious plan and ultimately Macbeth himself – before order is restored by the rightful heir.
One of Shakespeare’s shorter plays, this edit is tight and well-paced, running at around two hours. The play’s three key roles – Macbeth, played by Ethan Hough, Lady Macbeth, played by Samantha O’Hare and Macduff, played by Rory Impellizzeri – would each be at home on a professional stage. There is great chemistry between Hough and O’Hare in their scenes, each bringing animated, well-developed characterisations and a great sense of familiarity and connection with each other. Hough is a charismatic Macbeth who naturally draws attention, and O’Hare a nuanced Lady Macbeth, at once fiend-like – yet fallible. As Macduff, Impellizerri is compelling – also making a haunting impression near the beginning of the play in the additional role of Soldier. The combat scene between Macbeth and Macduff is a highlight, bringing the play to a dramatic climax.
The remaining ensemble performs with confidence and credibility; As Malcom, Ben Walton grows in stature throughout the performance, showing nice moments of emotional connection. Rob Kenna brings presence and propriety as Duncan and Siward. Bryce Berrell and Sol Buckley show vibrance and versatility in their multiple roles (with special congratulations to Buckley for performing Shakespeare in her second language!) with Rhyll Tedeschi providing an interesting study, especially as the morally ambiguous Banquo. Faith Moore-Carter, Hannah Collins and Marina Pennisi are each capable and commanding in their respective roles.
The cast handle the primarily Brooklyn-esque accents well, but there are times when the diction of the Elizabethan language is lost a little in accommodating that feature. The sound and lighting are creative – I especially enjoy the scene of Duncan’s death, and Macbeth’s monologues, although occasionally sound levels overpower the dialogue. The costumes look wonderful, with Lady Macbeth especially glamourous, in addition to effective set design. I enjoy the creative and immersive ways the theatre is utilised, with action occurring all over the space, not just onstage.
As with all community plays, acknowledgement is due to the entire production team and other volunteers who make it all possible. The collective efforts shine through here – J’bah’s Macbeth is an engaging, modern reimaging, exploring timeless themes, drawing interesting parallels with a social scourge, and reminding us that all that glitters is not gold. Highly recommend.
