Henry V by William Shakespeare. Directed by Damien Ryan. Bell Shakespeare. The Playhouse. Canberra Theatre Centre. June 14-28 2014

Reviewed by Peter Wilkins

 

Bell Shakespeare's Henry V.                  Photography by Michelle Mossop

Damien Ryan’s production of Bell Shakespeare’s Henry V is inspired. Audience’s familiar with the company’s work will be accustomed to the ingenious interpretations of the Bard that have become Bell Shakespeare’s trademark throughout its long and illustrious history. There is always a risk when a theatre company dares to depart from the accustomed and the conventional. At times it succeeds to dazzling acclaim. At other times it runs the risk of critical condemnation. So it may be for some who visit this production. For me, Ryan’s Henry V belongs to the former. Inspiration seeps through every scene of this ingenious interpretation. Ryan’s directorial concept for Shakespeare’s tale of England’s 15^th century warrior king is inspired by the account of boys, closeted in a London bunker during the air raids of World War 2. They would read various plays and then enact them for others, confined within the crowded space. Anna Gardiner’s set depicts a basement classroom in a bomb-damaged building, complete with blackboard, bookshelves and tables with piles of books for chairs.  It is here that Bell Shakespeare’s play within a play is performed. Peggy Lee’s  Why Don’t You Do Right sets the period before the play begins with the clamouring blasts of an air attack above the shattered windows. It is the blast of war that blows in our cheeks to thrust us fully into the drama of Shakespeare’s story.

Ryan’s troupe of ten actors rises to the occasion, powered by the energy demanded of a small ensemble and rising to the challenge of the Chorus’s enticement to fire the imagination. The opening scene establishes the classroom bunker and offers a prelude to the play with excerpts from Richard ll and Henry lV to clearly mark Henry V’s ascent to the throne. With chameleon aplomb, Keith Agius dexterously changes from schoolmaster to pillow-paunched Falstaff before assuming the storyteller Chorus of Shakespeare’s patriotic drama. With the assistance of Scott Witt’s movement direction, Ryan and his cast create a seething, soaring tide of action that drives the very heart of this gripping production. Shakespeare’s exhortation to “suit the word to the action, the action to the word” is carefully observed as the cast play out the war-time performers playing out the characters of Shakespeare’s drama. Bookcases become Falstaff’s deathbed, balustrades, or the boat’s hull, tossing on the Channel. They bear the bodies of the dead and the towers of the castle. Here is the fertile product of improvisational play, searching for and discovering the inspiration to discover inventive staging and offer an audience fresh insight into the nature of war, the quality of loyalty and courage, the danger of patriotic fervour and the futility and waste of man’s inhumanity to man. It is impossible to avoid the powerful and illuminating immediacy of Bell Shakespeare’s production. The company maintains a relentless pace to the action, fulfilling the demands of the Chorus to bring Henry’s tale to life as the young king forsakes his dissolute youth and bears the responsibilities of a monarch. The drama of Steve Francis’s sound design, combined with Sian James-Holland’s dramatic lighting complement Ryan’s volatile stage business in a production that is absorbing, riveting and enlightening. It is a story-teller’s magical art to surprise, to engross and to hold an audience captive through the drama, the comedy, the pathos and the moral tenor of the tale.

For the storytellers of this history, Ryan’s campaign is a challenge as bold as Agincourt. Only Michael Sheasby’s Henry is afforded the actor’s luxury to fully immerse himself within an all-encompassing role. Other members of the company play three or four other roles, as well as occasionally playing out the characters in the bunker.  A young company, they give their all, catching the cameo in their grasp and speaking the speech trippingly upon the tongue. Only Drew Livingston’s Fluellan appears not to have fully found the metre of his Welsh accent. There are some priceless scenes to savour. The minimalist executions of traitors, Cambridge (Gabriel Fancourt), Scroop (Darcy Brown), Grey (Eloise Winestock)and the unfortunate Bardolph (Brown) make a striking impact with their economy of action. The pathos of the death of Davey during the 1940 air raid shocks and reminds us again with such impact of the casualty of any war. There is abundant humour in Matthew Backer’s fey Dauphin as he heaps adoration upon his horse, a gymnasium horse brought in from another part of the school. The scene between Henry and the French Princess, Catherine (charmingly played by Eloise Winestock) is a delightful  display of clumsy wooing and linguistic misunderstanding.

Sheasby’s performance as the “Star of England”, a monarch who claimed France for England and defeated the French against terrible odds at Agincourt in 1421, is the star of this production, surrounded though he is by Bell Shakespeare’s Ensemble of brightly shining lights. Sheasby commands the stage with charisma, stature and the authority of his role. Whether championing his troops to patriotic fervour, praising their virtues, struggling with self doubt, displaying the ruthless  force of veangance and bumbling through young love’s confusion, Sheasby is an actor of shining stature. His command of the rhythm of the drama is pivotal and he rises to it with engaging assurance.

Director Ryan’s campaign is a triumph of originality and reverent observance of text and narrative. Every campaign is bound to suffer casualty, and here it may be the somewhat lacklustre gloss of the war council scenes at the French court or the occasional confusion that can arise with multiple role play and the interpolation of the 1940’s action with the 15^th. century history. Agius’s lucidly played Chorus assists audiences on this high octane journey. Whatever ambiguity may colour opinion in Shakespeare’s Henry V, Bell Shakespeare’s production leaves us in no doubt about the futility and waste of war, as does the Chorus’s final condemnation of the consequence of Henry lV’s reign.

On opening night, Bell Shakespeare’s Henry V showed itself to be a star of a production in the ascendancy.

The cast of Henry V. Photography by Michelle Mossop

Michael Sheasby as Henry V. Photography by Michelle Mossop

HENRY V

Written by William Shakespeare

Directed by Damien Ryan

Bell Shakespeare Company

The Playhouse, Canberra Theatre Centre

June 14 – 28, 2014

Review by Len Power, June 14, 2014

Before the performance started of the new Bell Shakespeare production of ‘Henry V’, I was introduced to a couple who had been to the previous night’s preview of the show.  They were so impressed that they had immediately bought tickets to the opening night as well.  I had a feeling I was in for something special and I was not mistaken.

William Shakespeare’s ‘Henry V’ was written about 1599 and tells the story of King Henry V of England immediately before and after the Battle Of Agincourt against France.

In this production, set in a bombed school classroom during the London Blitz in 1940, the school teacher, played by Keith Agius, leads off with a quick and lively history lesson of pertinent moments from the history plays preceding ‘Henry V’ to bring us up to speed for this play.  The teacher and students then perform ‘Henry V’, using props that are at hand around the room, and even reading now and then from the text of the play.  It’s a daring concept that works brilliantly.

The young cast give one of the best displays of ensemble acting I’ve seen in a long time.  Everyone is convincing as young students with distinctive personalities and also in their multiple roles as various characters from the play.  The sheer physicality and pace of the playing is at times breath-taking.

The director, Damien Ryan, has produced theatrical magic with many memorable moments, such as his imaginative staging of the death of Falstaff, the siege of Harfleur and the Battle Of Agincourt.  There is also an electrifying moment late in the play where you’re suddenly not sure if you’re still watching an enactment of the play or whether you’re witnessing a ‘real’ incident in the middle of the Blitz.

The set design by Anna Gardiner is a marvel, capturing the look and atmosphere of a bomb site.  Her work is complemented with a superb lighting design by Sian James-Holland.  The composer and sound designer, Steve Francis, adds great atmosphere to the visuals with an electronic score full of dread that reminded me of the film score by Ennio Morricone for the 1982 horror movie, ‘The Thing’.  The combination of lighting and sound during the bombing sequences is very realistic and alarming.

In Laurence Olivier’s famous 1944 film of the play, the action began in the Globe Theatre and became a propaganda piece for the Battle Of Normandy during the Second World War.  Setting this production in the bombed schoolroom is a clever alternative to Olivier’s vision and the war depicted in the play has the same relevance for the students as the Blitz rages outside.

This is a great production of a compelling play directed with imagination and flair and acted by a uniformly excellent cast.  All the elements come together to provide an evening of extraordinary theatre.  Don’t miss it!

Originally broadcast on Artsound FM 92.7 ‘Dress Circle’ showbiz program with Bill Stephens on Sunday 15 June 2014 from 5pm.

OLIVIA URBANIAK PERFORMS CHOPIN - POET OF THE PIANO

Olivia Urbaniak at the Polish Embassy

Presented by The Friends of Chopin Australia Inc.

Embassy of the Republic of Poland

Saturday 7^th June 2014

Reviewed by Bill Stephens

As part of a series of events leading up to the forthcoming 2^nd Australian International Chopin Piano Competition, to be held in Canberra from 15^th to 21^st September this year, The Friends of Chopin Australia presented this recital by 16 year-old pianist, Olivia Urbaniak, currently a Young Steinway Artist and the recipient of a 2014 Rising Star Scholarship at the Sydney Conservatorium of Music.

Prior to the performance, The Friends of Chopin Australia President, Wanda Horkey introduced the Polish Ambassador, Mr Pawel Milewski who welcomed guests before the Artistic Director of the piano competition, Mr Maciej Pawela introduced Miss Urbaniak, then  joined her at the keyboard for a spirited four-hands performance of Schubert’s “Polonaise in D Minor”.

Urbaniak then set the mood for the first part of  her program, entitled “The Storytelling of Chopin” by reading some excerpts from a series of fictional letters between Chopin and George Sand, which she had written to deepen her own understanding of Chopin’s psyche. This proved an excellent device for focussing the attention of the audience on the four Chopin pieces she was about to play.

Composed, confident, and playing without any reference to sheet music, Urbaniak commenced with Chopin’s waltz-like “Mazuka in F# minor, Op 59, no. 3”. She followed this with, what is considered to be among the most challenging pieces in the standard piano repertoire, his showy “Ballade no 2 in F Major, op.38”, leaving no doubt as to the brilliance of her technique with her impressive performance.

 A sensitive interpretation of the familiar, heavily romantic “Nocturne in D Flat major, op 27, no 2”  proved a delightful contrast to the fireworks of the ballade, following which she ended the first section of her program with another dazzling interpretation, this time the dramatic “Scherzo no 3 in C# minor, op 39”.

After a short interval, Urbaniak again read excerpts from her fictional letters to set the mood for a stunning performance of the fiendishly difficult “Sonata no. 2 in B flat minor, op.35”, popularly known as “The Funeral March” because of its familiar third movement “Marche Funebre: Lento”. Her brilliant performance of this sonata left her audience cheering for more, and they were rewarded with a charming encore, Ravel’s “Ondine”.

Though too young to compete in the forthcoming Chopin Piano Competition in Canberra, Olivia Urbaniak will soon leave for a recital in Paris before further master classes in Poland to prepare to compete in the International Chopin Piano Competition in Warsaw in 2015. Those who experienced her brilliant Canberra recital were left in no doubt that they had witnessed an extraordinary talent and a brilliant young pianist on the threshold of major international career. 

Olivia Urbaniak 

                                                              Photos by Peter Hislop

                This review published in the digital edition of CITY NEWS on 10th June 2014

KISMET

Don Bemrose as the poet

Presented by Queanbeyan Players

Queanbeyan Performing Arts Centre until 21st June.

Reviewed by Bill Stephens

A lush, romantic Eastern fantasy, with music adapted by Robert Wright and George Forrest from the works of Alexander Borodin, “Kismet” makes considerable demands on any community theatre group undertaking a production, requiring principals with voices of operatic standard, a large orchestra and chorus, and lavish sets and costumes, to do the work justice.

However, with this new production, under first time director, Peter Smith, Queanbeyan Players have largely succeeded in ticking all the boxes.  

Don Bemrose and members of the male ensemble

As the fast-talking conman/poet who murders the wicked Wazir, to free his daughter, Marsinah, from an unwanted marriage, so that she can marry the Caliph and he can co-habit with the Wazir’s wife, Lalume, Don Bemrose leads the cast with an attractive performance. His solos, including “Fate” and “The Olive tree”, show off his rich warm baritone to great advantage, while his acting is relaxed and convincing.

Thompson Quan Wing (Caliph) Rosanna Boyd (Marsinah)

As pretty as a Disney princess, Rosanna Boyd as Marsinah, has the voice to match her looks, and she is beautifully teamed with the silver-voiced Thompson Quan Wing, who as well as playing the love-lorn Caliph superbly, also designed the set. Michael Politi, hard to hate as the villainous Wazir, and Stephanie McAlister, delightfully voluptuous as his wife, Lalume , both reveal excellent singing voices, as does Marcus Hurley as the bangle man, while the large ensemble provide confident, robust support in the many well-staged crowd scenes.  

Although Jennifer Groom’s impressively large orchestra were still struggling with the demands of the difficult music score on opening night, sometimes out-of-tune and out-of-time, especially in the overture and entr’acte; when it all comes together in the big choral numbers like “Baubles, Bangles and Beads” and “Night of My Nights” or in the lovely duet, “Stranger in Paradise”, the effect is thrilling.

Isabella Tan - Maxine Johnson - Christina Phillip

By distilling the various locations into one large set-piece, embellished by screens and lattices as required,  Thompson Quan Wing’s setting provides an attractive background for Janetta McRae’s colourful and flattering costumes, and Belinda Hassall’s imaginative dances for the various princesses, and her well executed concerted movement for the large ensemble add to the spectacle of a production which, despite limited resources, captures much of the spectacle and excitement of a form of musical too rarely seen on present day stages, and a hugely enjoyable evening of theatre. Highly recommended.

                                                          Photos by Rebecca Doyle Photography

              This review appears in the digital edition of CITY NEWS published 7th June 2014
          an edited version appears in the print edition of CITY NEWS published 10th June 2014

KISMET

Book by Charles Lederer and Luther Davis

Music and Lyrics by Robert Wright and George Forrest

Directed by Peter Smith

Musical Director: Jennifer Groom

Queanbeyan Players, Q Theatre, Queanbeyan 6 to 21 June 2014

Review by Len Power 6 June 2014

One of the big, lavish musicals of the 1950s, ‘Kismet’ opened on Broadway in 1954 and ran for 583 performances.  It had an even longer run in London in 1955 and seems to be one of only a few musicals with an operetta-like musical score to still be produced these days.  The reason is probably due to the memorable songs in the show which everyone has heard, whether they know they’re from ‘Kismet’ or not.  Based on themes by Russian composer Borodin, several of the songs became standards – ‘Baubles, Bangles and Beads’, ‘And This is My Beloved’ and especially, ‘Stranger in Paradise’.  In fact, it’s now difficult to listen to Borodin’s originals without trying to sing along using the lyrics of ‘Kismet’.

Producing ‘Kismet’ is a major undertaking for a non-professional company on a limited budget.  Courageously taking it on as a first-time director, Peter Smith, has produced a colourful and entertaining show with some very good singing from his principal players.  It’s a bit rough around the edges but some of that was probably due to first night nerves and it should settle down as the season progresses.

Don Bemrose’s excellent voice suited the role of the Poet very well.  The Poet lives by his wits and ability with words, as is clear from the lyrics.  In the dialogue scenes, Don Bemrose’s interpretation of the character as a nice but nervy guy often lacking in confidence was at odds with the confidence of the singing character.

As Marsinah, the Poet’s daughter, Rosanna Boyd was charming and sang and acted her role very nicely, especially shining in her solo part of ‘And This Is My Beloved’.  Thompson Quan Wing, often seen and heard in Queanbeyan Players chorus, displayed his pleasing solo singing voice to great effect as the Caliph, especially in ‘Stranger In Paradise’.  He also brought considerable depth to his characterisation of a man used to being a ruler but desperate to find love.  Michael Politi sang and acted the role of the Wazir of Police very well.  His song, ‘Was I Wazir?’, was a highlight of the show.  Stephanie McAlister, as the Wazir’s voluptuous wife, Lalume, displayed a good sense of comic timing and was in fine voice in ‘Not Since Ninevah’.  The large chorus sang the big score very well.

The set by Thompson Quan Wing was simple but effective and the costumes by Janetta McRae were colourful and fun.  Choreography by Belinda Hassall suited the skill levels of the performers and the dance of the three princesses of Ababu was nicely witty and well-danced by Theresa Buetre, Kate Terry and Zoe Swan.

Using the original lush orchestrations, the orchestra under the direction of Jennifer Groom seemed to have some difficulties here and there on opening night.  It’s a huge score in a long show, so it must be quite a challenge to play.

This isn’t a perfect production but it’s enjoyable and has some great singing and a magical score.  We don’t get a chance to see these classic shows much these days so full marks to Queanbeyan Players for giving us this production.

Originally broadcast on Artsound FM 92.7 'Dress Circle' program with Bill Stephens from Sunday 5pm 8 June 2014.

WHITE RABBIT, RED RABBIT

Written by Nassim Soleimanpour

Performed by Geraldine Turner (different performers at each show)

The Street Theatre 28 May – 1 June, 2014

Review by Len Power 28 May 2014

It’s always good to see something a bit different from the norm in theatre.  Iranian writer, Nassim Soleimanpour’s ‘White Rabbit, Red Rabbit’ is advertised as “No rehearsals, no director, no set.  An unnerving comedy of human freedom that defies national boundaries, censorship…and description.”

A performer with no knowledge of the show takes on the challenge of a cold reading of a script handed to them only when they walk onstage.  Different performers appear on different nights.  On opening night, highly experienced actress Geraldine Turner showed that she was game for anything this script might throw at her.  The audience was also asked to keep their phones switched on during the performance, which was highly unusual, but there was a reason.  If the audience then thought they could sit back and just enjoy Miss Turner’s probable discomfort, they were quickly mistaken.  Given an individual number in relation to where they were seated, certain audience members were then selected by numbers stated in the script to take part in various sequences that were quite challenging for non-performers.  Those of us not selected in the first group were soon feeling distinctly nervous.

It’s important that both performer and audience don’t know the content of the show before they see it, so I can’t spoil it by revealing its secrets.  It’s fair to say that the writer’s intent is to touch on issues about differences in human rights internationally, how easy it is to react like animals rather than human beings and, at the same time, examine play writing from both the writer’s, performer’s and audiences’ point of view.

My immediate reaction at the end of the play was that I enjoyed it.  Geraldine Turner was an excellent performer to take the journey with.  Doing a cold reading of a script would be hard enough, but ensuring the audience was entertained as well was a lot to ask of any performer.  She kept the audience on side with a twinkling sense of humour and made us feel we were sharing her experience quite intimately.  It was also fun to see hapless audience members taking on challenges they were not expecting and enjoying that delicious feeling of ‘I’m glad it wasn’t me’.  The participating audience members actually did rather well.

However, thinking about it afterwards, there wasn’t really much depth in the writing.  Various issues were raised but it was all rather basic and nothing you didn’t know already.  The surface dramatics were much more interesting and enjoyable but swamped any serious intent by the writer.  However, it would be fun to see where other performers and audiences take the show.

If you like to see something rather different, you can have a good time at this show.  The only confronting aspect you’ll experience is having your number called and finding yourself part of the performance.

Originally broadcast on Artsound FM 92.7 'Dress Circle' program with Bill Stephens 5pm - 6.30pm Sunday 1 June 2014