Wednesday, August 31, 2011
MTC HAMLET REVIEW 2011
Hamlet
By William Shakespeare
Melbourne Theatre Company
July 19 to September 3, 2011
The MTC Theatre, Sumner
Director: Simon Phillips
Simon Phillips has created a glittering production of Hamlet with a strong cast lead by Ewen Leslie, who is to begin filming his lead role in a film adaptation of Christos Tsiolkas’ Dead Europe. Hamlet is my favourite Shakespeare play and Tsiolkas one of my favourite writers, so I was keen to see how Leslie was handling these works. I was also disappointed to have missed Phillips’ production of Richard III at the MTC last year, which also starred Leslie, so I wasn’t taking any chances this year.
I was dazzled by this production, especially by the towering glass set, which revolves from scene to scene. We see the actors running, hiding, spying on each other through the clear glass walls, giving the play intrigue and depth. Phillips’ vision is cinematic, and the transitions from scene to scene, and the pace and use of music seem heavily influenced by film and TV. As soon as one scene finishes, the stage spins and the actors in that new scene start their dialogue before the stage comes to a stop. Not all the transitions work as perfectly as they could. The use of loud, modern music in some scene changes is unnecessary. Some have criticised the use of ‘mood’ music that kicked in each time there was a dramatic scene. But that’s a cinematic touch, and I had no problem with that.
Putting aside the amazing set, Phillips has a terrific cast to work with. There was Ewen Leslie, who is predicted to become a big film star; Pamela Rabe as Gertrude; Garry McDonald as Polonius; Robert Menzies as the Ghost and Player King; and John Adam as Claudius. The weight of the play, and so many of its lines and scenes, rests on Leslie’s shoulders and he gives the role his all. He starts the play squirming and in physical pain watching his mum, Gertrude, married to his uncle, Claudius, so soon after his father’s death. As soon as he’s alone, Leslie is on the stage floor, doubled over and full of loathing for what his mother has done. I’ve heard Leslie wanted to be decisive in his role as Hamlet, and he jumps straight into the character’s anguish. He starts the play twisted and sickened, and becomes blistering from there on. I’m not a fan of actors who are constantly shouting in plays, and thankfully Leslie gets the chance for quieter, more intimate scenes. His ‘to be, or not to be’ speech, spoken while he is lying on his bed, is well-judged, as is his ‘Yorick’ speech by the graveside (my personal favourite scene from Leslie in this play). The audience did not make a sound in these two scenes, which reflects the respect with which those famous soliloquys are held. It’s also a great testament to Leslie’s stage presence, and skill. No one wants to miss a word coming out of his mouth. My only criticism is that Leslie was too angry too often. Leslie has incredible range and his rage is convincing and frightening. I was almost in tears watching him destroy the delicate, pretty Ophelia. But I wanted to see more of Hamlet's dark wit, his sensitivity, and intelligence. There were glimpses of this, such as when Leslie plants a kiss on Claudius’ cheek, and taunts Rosencrantz and Guildenstern, and Polonius. I can see why Leslie would be electrifying as a villain, as he was said to be with Richard III.
Robert Menzies is magnetic as the ghost of Hamlet’s father. He almost stole the show for me, with his tatty woollen jumper, pale face, and booming voice. The scene where the ghost appears to Hamlet, steam hissing from his jumper as if he’s been tossed from hell, is a theatrical moment to be savoured. Pamela Rabe is always excellent, but she is under-used in this play. It’s the first time I’ve realised that Gertrude is an under-written role. Or perhaps Phillips just didn’t give Rabe a chance to kick off her stilettos, and put down her glass of whisky, and let Gertrude grow.
Eryn Jean Norvill is a beautiful, ethereal Ophelia in a very impressive MTC debut. Her stately voice gives Ophelia grace and dignity, even when she goes mad, as all Ophelia’s do. Her early scene with brother Laertes (Tim Ross) is intimate to the point of being icky, though. Is it necessary for brother and sister to be rolling all over each other on her bed? Norvill is a good match for Leslie in their most difficult scene, when Hamlet says “get thee to a nunnery”. It is much harder, I think, to be in Norvill’s shoes in this scene, and she is brilliant.
Yes, there are faults with this Hamlet, but overall it’s cool, smart, thrilling theatre, and not to be missed.
Sunday, August 7, 2011
God of Carnage unleashed in Macedon
It’s a farce about two pairs of parents, one of whose child has hurt the other in a park, who meet to discuss the matter in a civilized way. As the evening goes on, the comedy of manners continues, minus the manners, and the civilized discussion leads to chaos. Reza shows what happens when the thin layer of polite society is stripped away.
Now it’s The Mount Players’ turn, and director Natasha Boyd promises a theatrical experience unlike any seen in the lush Macedon region.
“We are very lucky to be the first amateur theatre group to be granted rights to perform this play in Victoria,” Boyd said.
After directing 13 productions from full-scale musicals to one-act plays, Boyd is excited by the opportunity to bring a fresh show to the community theatre scene in Melbourne.
“What a bonus to be the first community group (to get the rights) because it means we could be free to do our own take on it. I really like being innovative and creative and fresh, and so this has been a super project to take on. At the end of the day, we don’t want to be a replica of the MTC or Broadway productions. We can only be ourselves and bring our own creative interpretation to this production.”
Boyd first saw the play on the MTC stage in 2009, and loved the way the action unfolded in real time, with characters descending into chaos over 90 minutes.
“The premise is so simple, yet so compelling. Having been a teacher for 11 years, the idea of parents defending their children, and getting worked up when other people criticize their parenting style resonated with me,” she said.
“It was also just damn hilarious to be sitting in the front row seeing all the characters initial impressions crumble as things got more out of control. Achieving this kind of humour and character arc in real time over 90 minutes was a challenge I wanted to set myself.”
With opening night just a few weeks away, Boyd and her cast of four are energized by the show they’re creating. All four actors met in Macedon as strangers, bringing with them different levels of experience and approaches to acting, not to mention a variety of work and life commitments. As with a professional theatre company, all four actors have to reach an exacting standard at the right time. Boyd is confident her cast will compare favorably with many of those currently on the professional circuit.
“All of us have said time and time again how special and magical this show has felt during the entire process because we’ve always been clear about the vision and what we need to do to get there. This cast is amazingly committed,” she said.
Theatre-goers who love that first glimpse of an intriguing set before the show begins will not be disappointed. Boyd worked with production designer Alison Dudon, producers Kaye Mills and Sue Cerminara, and lighting designer Scott Hasse to create a striking, artful set.
“I really wanted a wow factor when the audience walks in, and to think that this set could be placed in any professional space like the MTC, Red Stitch or the Malthouse. To be honest, I think this set stands up extremely well. It is just hot!”
...
God of Carnage by Yasmina Reza
Directed by Natasha Boyd
The Mount Players, Macedon
August 26 to September 11
Tickets are $25 adult $22 concession.
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