Twelfth Night

Monday, 26 July 2010

Make of it what you will, but with one of the most famously rhapsodic lines from Shakespeare opening the play, “If music be the food of love, play on…” Black Swan Theatre’s latest comedic oeuvre from the bard continues the trend of updated delight from last year’s joyous Much Ado About Nothing, and washes us ashore upon the Mediterranean inspired resort location of Illyria.

The audience is delivered into a bright pastel zephyr-blue set split in the centre to not only give an alternate entry for the actors but to denote two houses, multiple locations, and of course a more obvious reminder of two halves torn asunder - twin castaways Viola and Sebastian, shipwrecked separately and mourning the death of the other.

Set designer Christine Smith has once again impressed with her intelligent use of space and suggestion, constructing a protruding boardwalk (white sand softly duned at the struts evoking the sea); a slightly unbalanced wooden stage – kingdoms constructed from ships; and later nautical allusions of large twined ropes, hanging installations that inferred trees; all set against textured backdrops of perfect sailing weather skies.

Kirsty Hillhouse as the glamourous Olivia, mourning the recent deaths of both her father and brother wallowed attractively, easily resisting Orsini’s (Kenneth Ransom) consistent advances and later thunderstruck when she falls madly in love with Viola in the guise of Orsini’s page, Cesario.

Hillhouse and Amanda Woodhams as Cesario/ Viola made a comical sight, their height difference even more pronounced as the Lady dashed about in tailored heels and espadrilles. Woodhams was utterly convincing in appearance as male page Cesario - add some wire-rimmed glasses and she’d be the spitting image of Daniel Radcliffe’s Harry Potter - and she handled her lead role well, giving us a journey through her emotions, though I did find some of her monologues a little distancing; surprising, considering they are usually intended to draw an audience closer to the character by gaining an insight into their thoughts.

Smaller players Steve Turner as minstrel Feste, Luke Hewitt as happy drunkard Sir Toby Belch, scene-stealing Ingle Knight as the Walter Mitty-ish Sir Andrew Aguecheek, and obnoxious steward Malvolio, played with relish by Geoff Kelso were even more outrageous characters; a guffawing distraction from the more straight playing romantic comedy plot.

As is usual for a comedy, misunderstandings abound, and though there is the modern query of homoeroticism in the attraction between Orsini and “Cesario” (and in this play, a Sapphic hint when Olivia discovers the boy she is in love with is actually a girl), both couples end gender appropriately matched and with happy endings all round.

A sweet voyage in Shakespearean waters.

Much Ado about Nothing

Tuesday, 25 August 2009

As an arbor of autumnal leaves freckle across its heaven, Black Swan State Theatre’s production of Much Ado about Nothing opens with a languid sigh; the fair citizens of Messina ambling onto the sun dappled stage, all reactions slowed to remind the audience of the unhurried pleasure of a summer’s day…despite Perth’s chilly night!

Soon though, the soldiers from a distant war return and the action picks apace as robust testosterone zings into the mostly estrogen air of this idyllic village town, and Cupid’s arrow finds its mark when handsome Claudio (Stuart Halusz) is felled by the sweet smile of Hero (Shubhadra Young), daughter and heir to their avuncular host Leonato (Michael Loney, scenery chewing his way through the Shakespearean text with relish).

Leonato welcomes back Don Pedro and his men and invites them to stay, relax, and be entertained; a celebration of having returned safely. The fair maidens of Messina quickly choose a favourite, but lively and fearless Beatrice, a defiant bachelorette, is nonplussed about all the matchy matchiness and instead verbally jousts with fellow nemesis snark Benedick, both almost unaware just how much fun they obtain in each other’s company with their ongoing competition of wordy one-upmanship.

Kirsty Hillhouse was an engaging Beatrice, her eloquent tone and charming manner disguising some sharp bon mots, softened somewhat by a smart twinkle of familial love in her eye. Benedick sported Kenneth Ransom’s natural American accent which while initially a novelty every time he spoke, was easily accepted, the original play notes mentioning that the soldiers are drawn from many countries. His lanky frame was well suited to some slapstick scenes and the love-hate chemistry between his character and Beatrice was delicious.

In all this honey there comes a fly, and a dour trio of party poopers led by Austin Castiglione as illegitimate pretender to the throne Don John, plots to humiliate regal Don Pedro (Steve Turner) who has recently courted Hero on behalf of Claudio. Little lies and intimations on the nature of Hero’s chastity lead to the first act finale of the worst wedding day scenario for a bride ever.

But this is a comedy, and of-many-roles Luke Hewitt in his alternate guise of Friar Francis shrewdly advises Hero to play possum and her family to likewise shroud themselves in mourning as he convinces them that news of her death will flush out the real culprits of this conspiracy.

It turns out that he’s right, as boastful Borachio (Tim Solly) with the sneering Conrade (Brendan Ewing) have drunk enough alcohol to reach the level of stupidity that allows them to not only spill their entire plot with Don John, naming names and pronouncing payment terms; but to be heard and captured by the largely ineffectual Messina night watch.

Dogberry (Geoff Kelso with more than a touch of Dad’s Army) and his Boy Scout lieutenant Verges (Brendan Hanson) remarkably manage to interrogate two battle hardened soldiers and handle the truth well enough to prove Hero’s innocence.

Claudio, remorseful and prepared for his punishment of a life married to Hero’s “cousin” is instead given back the girl of his dreams, but the audience has already moved onto the much more vibrant romance of Benedick and Beatrice, who really have a much more stable start to their union having dispensed with civility upon a previous meeting and told each other to their faces all their flaws and faults upfront!

Behind the scenes kudos to director Kate Cherry, set and costume designer Christina Smith, and lighting designer David Murray for setting the stage for a sparkling and witty Shakespearean night out.