Venue: Flight Path Theatre (Marrickville NSW), Mar 25 – Apr 11, 2021
Playwright: Lope de Vega (adaptation by Angus Evans)
Director: Angus Evans
Cast: James Bean, Tristan Black, Julia Christensen, Steve Corner, Shayne de Groot, Dominique de Marco, Lucinda Howes, Suzann James, Martin Quinn, Davey Seagle, Idam Sondhi, Madeleine Withington
Images by Clare Hawley
Originally published early seventeenth century, Lope de Vega’s Fuenteovejuna is based upon the true story of a bloody revolt that took place in 1476 Castile. After sustained mistreatment by authorities, residents of the town Fuente Obejuna banded together and decapitated their commander in a coup. When investigators took to torturing individuals, each victim would refuse to divulge information, and in solidarity answered only that “Fuenteovejuna did it.”
Adapted and directed by Angus Evans, this new version of Fuente Ovejuna takes the opportunity to express the discontentment of contemporary Australians with our own leaders. Evans’ approach demonstrates that themes of the play could easily be applied to any period of recent political memory, but of particular salience is the Prime Minister’s current inability to manage the upheaval brought upon by revelations of sexual assaults, committed by members of his own government. Their sustained and wilful insolence certainly does inspire fantasies of mutiny and murder.
Evans’ ideas are put forward passionately, if not always sufficiently coherent. It is a galvanised team under his guidance, with all aspects of the production demonstrating admirable levels of commitment and energy. Actor Steve Corner leaves a particularly strong impression in a variety of roles. A powerful and compelling presence, he introduces a delicious, and necessary, sense of heightened drama, especially when occupying centre stage. Lucinda Howes as Laurencia, fires up our emotions in a crucial scene that sees her stoke the flames of rebellion. The authenticity that Howes musters for that moment, is sheer theatrical joy. Tristan Black is charming and very funny as Mengo, and as puppeteer for the King. The performer’s comic timing is perfect, and a real highlight of the show.
Live music is provided by Edward Hampton and Liam Peat, both musicians attentive and inordinately sensitive, adding tremendously to our enjoyment of the staging. Lights by Jas Borsovsky are suitably ambitious, and clever in their seemingly intuitive manipulations of our emotional responses. Victor Kalka’s set and Lucy Ferris’ costumes evoke a time past, whilst maintaining relevance to the present, so that we understand the foreign places to be no different from here, and the historical personalities to be the same as us.
It is gruesome but undeniably joyful to witness the execution of a heinous autocrat. The truth however, is that our systems of power, can withstand the toppling of any one figure, no matter how eminent. We may feel empowered when daydreaming about Prime Ministers, movie moguls and press barons being cancelled or removed at will, but these positions undoubtedly will be swiftly replaced, by more of the same.
Fuente Ovejuna is a story about solidarity, and the power of the people. In places like Australia, the establishment only exists, because we the people, allow it to. The reason we authorise its powers, is that we believe them to be beneficial to our existence, but it seems that what we believe, is almost entirely controlled by those powers that be, in an ominous cycle of causality.
It is easy to acknowledge that parts of our minds can fathom a way of life devoid of corruption, that in our imagination, an idealistic utopia always seems just a hair’s breadth away. We want to think that as a united people, we can make decisions that are right, that those determined to be rapacious and unjust can be vanquished. In reality however, our way of life has long been predicated on inequity and greed. If our fundamental values require that there be losers as well as winners, then surely true unity will forever elude us. We may experience flashes of reckoning, in fact these moments of cultural awakening seem to occur increasingly frequently, but there is little proof that knowing what is right, is ever going to lead us to actually doing better.