Paul Morris – Theatre Press

This is as accessible and fun as Shakespeare has ever been

By Sebastian Purcell

If all Shakespeare was as accessible, fun and brilliantly acted as this production of The Taming of the Shrew, schools would have no trouble getting any of his texts into children’s hands.

The Melbourne Shakespeare Company has put together a sublime ensemble that not only nails the Shakespearean tongues at incredible pace and annunciation (even more impressive outside in the elements), but also the interjection of modern references, which makes the play feel current and relatable.

The Taming of the Shrew, directed by Jennifer Sarah Dean, questions the essence of the feminine and masculine, power and control, truth and deceit. Each show the main characters roles are chosen by the audience, often leading to gender reversal which is poetically reflected in the production’s setting in the St Kilda’s Botanical Gardens, characters coming from Gardenvale, Elsternwick and surrounding suburbs.

In essence the main plot is about the courtship of Petruchia (played by Emma Jevons on the day) and Katherino (John Vizcay-Wilson) the ill-mannered shrew. Petruchia takes on a bet to tame and wed Katherino in order for the younger, fairer Bianco (Saxon Gray) to marry. Bianco cannot marry until the elder sibling Katherino is wed, but Bianco already has two suitors (May Jasper and Charlotte Righetti) and is courted by another (Sarah Krndija). To add intrigue, the bet is placed as the various suitors vie for Bianco’s love, and supporting the suitor’s in their quest are their dutiful sidekicks (Emma Austin and Yash Fernando) who attempt to disguise their true intentions throughout the 90 minute performance.

While everyone provides an outstanding performance, I think a special mention is warranted for Liliana Dalton (Trania) whom often steals the scenes and delivers the wonderful line “how now brown cow”, demonstrating a pure enunciation of the English language. Emma Jevons as the Tame and John Vizcay-Wilson as the Shrew have an authentic energy and have the most physically demanding roles. Their courtship scene is an absolute highlight of physical acting prowess. Paul Morris (Sly) on the guitar is fantastic, so much so It even felt like Tones and I’s Dance Monkey belongs in Shakespeare.

Benjamin Almon Colley provides a masterclass in musical direction; who would have thought Kelly Clarkson’s My life would suck without you would sum up the play so gloriously? The choreography (John Reed) is tight and the use of the gardens and gazebo, as well as the set dressing (Hayley James) makes you feel part of the show. In addition, the recycled products and the digital program show the environmentally conscious nature of the Melbourne Shakespeare Company. The costuming (Rhiannon Irving) is consistent with the traditional characterisations but with the added benefit of adding a character sash to each actor making the play easy to follow and acting as clever props throughout.

This is a laugh out loud production, a comedy in all its glory. There’s so much physicality from the performers and it’s a joy to see them enjoying themselves and each other’s brilliant performances. Bring a picnic and a jumper for Melbourne’s cool evenings. This is as accessible and fun as Shakespeare has ever been. A triumphant production.

The Taming of the Shrew plays from Saturday 7 – Sunday 22 December 2019

The Rose Garden, St. Kilda Botanical Gardens.

Tickets are available at http://www.melbourneshakespeare.com

Photography courtesy of Jack Dixon-Gunn

Impeccable

By Ross Larkin

When a show is preceded by its own reputation as an iconic, Oscar-winning film, one might be forgiven for having reservations about subsequent incarnations of any kind. Thankfully, Monster Media’s interpretation of One Flew Over the Cuckoo’s Nest puts all reservations to rest in a production that succeeds at the highest level.

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When Randle McMurphy (Michael Robins) is committed to a psychiatric asylum, he unwittingly provokes the menacing Nurse Ratched (Catherine Glavicic), who controls the ward with an iron fist, while forging the most unlikely of friendships in the process.

With award winning director Carl J. Sorheim at the helm, the play by Dale Wasserman and based on the novel by Ken Kesey is executed with delicate precision and just the right amount of integrity, light and shade.

The casting, in particular, is of exceptional note with an ensemble cast that bring complete authenticity and charm to the stage from the outset, including Eddie Muliaumaseali’i, Natalie Bond, Nicholas Denton, Jack Dixon-Gunn, Josh Futcher, David Gannon, Kostas Ilias, Troy Larkin, Stephanie Lillis, Paul Morris, Seton Pollock, Angela Scundi and Ben Sofowora. .

Michael Robins provides a fresh take as the mischievous McMurphy; a complex and demanding role which, in the wrong hands, could easily fail to affect. However, Robins makes the character his own and does very well in the process.

Catherine Glavicic as the subtly twisted Nurse Ratched is chilling yet sincere, offering an excellent concoction of kindness, authority, manipulation and bite, while Troy Larkin as the troubled Dale Harding is outstanding in a portrayal laden with conviction, torment and tenderness.

Add to the brew an alluring lighting (Jason Crick) and sound design, and a pace and energy to match, and Monster Media’s production of One Flew Over the Cuckoo’s Nest is most definitely not to be missed.

One Flew Over the Cuckoo’s Nest is playing now until June 11, 2017 at Southbank Theatre, The Lawler, 140 Southbank Boulevard, Melbourne. Tickets available at www.mtc.com.au or by phone on (03) 8688 0800.

Image by GW Photography