Venue: The Neilson Nutshell (Sydney NSW), Jun 20 – Jul 19, 2025
Playwright: William Shakespeare
Director: Peter Evans
Cast: Jules Billington, Peter Carroll, Septimus Caton, Marco Chiappi, Suzannah McDonald, Ruby Maishman, Joshua Monaghan, Gareth Reeves, Matilda Ridgway, Hazem Shammas, Anthony Taufa, Brigid Zengeni
Images by Brett Boardman

Theatre review
The protagonist in Shakespeare’s Coriolanus may appear every bit the triumphant warrior, but the play reveals that true heroism cannot exist without integrity. Driven by a hunger for status and glory, Coriolanus engages in political manoeuvres to attain the consulship, giving little consideration to the greater good. While the Roman people hold the power to vote in their own interest, the knowledge they are given is seldom complete, and often shaped by manipulation rather than truth.

It is an important message no matter the epoch, even as Shakespeare’s work grows increasingly alienating through the centuries. Director Peter Evans takes on the challenge of recontextualising the piece, attempting to give it a modern sheen. A somewhat contemporised sensibility is paired with a distinctly 21st-century set design—complete with a sliding platform that is repositioned slightly too often. Costumes by Ella Butler are well-fitted, and intentionally dour in style. Lights by Amelia Lever-Davidson and sound by Max Lyandvert, offer elegant enhancements to the drama, in a production that always looks sharp.

Such is the charisma of leading man Hazem Shammas that, even in the face of Coriolanus’s failings, we are never entirely disdainful of the character, and are held in thrall by his sleek, high-voltage performance. Also captivating are Matilda Ridgway as Sicinius and Brigid Zengeni as Volumnia, both actors impressive with their verve and intensity, able to hold our attention effortlessly even when we struggle to keep up with the archaic language.

Much as the voting public intends to choose the right representatives, the information on which those decisions are based rarely seems reliable. In the current climate of pessimism, it is all the more alarming that—even when candidates openly reveal their deficiencies—the body politic can still be persuaded to embrace them. More disappointing than being misled is to witness the celebration of a clear lack of virtue, when making decisions about our collective future. Evil exists, and it is rarely inadvertent.

www.bellshakespeare.com.au

Venue: The Neilson Nutshell (Sydney NSW), Jun 14 – Jul 20, 2024
Playwright: William Shakespeare
Director: Peter Evans
Cast: Tamara Lee Bailey, Shameer Birges, Jeremi Campese, Melissa Kahraman, Alex King, James Lugton, Robert Menzies, Lizzie Schebesta, Michael Wahr, Janine Watson, Darius Williams, Brittany Santariga
Images by Brett Boardman

Theatre review

As Lear nears the end of his life, it becomes important that he knows how his daughters feel about him. It may seem that young men can bear children indiscriminately, only to decide to assess the quality of those relationships, when it is much too late. The results can often be disastrous, as is exemplified in Shakespeare’s King Lear.

An intensity associated with those dire consequences is certainly present, in Peter Evans’ direction of the piece. Lights by Benjamin Cisterne and sounds by Max Lyandvert pull no punches, when required to deliver the drama. In concluding sections of the play especially, a theatrical flamboyance takes hold quite decisively, as though to remind us of the extremities in human emotionality that Shakespeare had loved to depict, and with such aplomb. In this production however, the drama feels distant, almost synthetic. Its vigour is discernible, but never really connects, leaving us to observe its passionate renderings, only with cerebral curiosity.

The staging is nonetheless aesthetically pleasing, with a captivating set design by Anna Tregloan taking inspiration from celestial elements in the text. It is a modern approach that extends to her costumes, although a greater eye for detail and refinement would improve visual interest, for an audience positioned so intimately in relation to all the action.

Actor Robert Menzies plays leading man on this occasion, highly convincing in the role, although not always compelling. Other performers include Janine Watson as Kent, and Darius Williams as Edmund, both rich and delicious with the myriad colours and textures they deliver, memorable for the inventiveness they bring to the table.

It is arguable if Lear’s regrets are circumventable. We can see that there is so much he could have ameliorated through the years. We also know that one can only do better, if they know better.  What is in contention therefore, is if Lear had actually known any better, or if he was only ever doing his best. Parenting is tricky business, enacted by flawed people, who then create further flaws in other people. No wonder we talk endlessly about forgiveness.

www.bellshakespeare.com.au

Venue: The Neilson Nutshell (Sydney NSW), Jun 23 – Aug 27, 2023
Playwright: William Shakespeare
Director: Peter Evans
Cast: Lucy Bell, Blazey Best, James Evans, Alex King, Robert Menzies, Kyle Morrison, Rose Riley, Monica Sayers, Leinad Walker, Jacob Warner
Images by Brett Boardman

Theatre review

In more innocent times, the act of suicide was the ultimate sacrifice in any romance. Today, many will find the gesture somewhat empty, when we know survival to be much harder an option. Shakespeare’s Romeo and Juliet however depicts more than that experience of puppy love, not least of all the senseless but intrinsically human tendency, of creating oppositions, and of always choosing discord over harmony. We watch the Capulets and the Montagues revel in being enemies, determined to fight to the bloody end. Peace is our natural yearning, yet it seems we can only ever run away from it.

Peter Evans’ direction commences with a great sense of dynamism; the scene is set in a captivatingly blithe way, and the lovers’ first meetings are handled with charm and elegance. The inevitable bleakness begins noticeably from the third act, and although appropriately sombre, the show turns unfortunately and markedly distant. The moment of great tragedy appears anti-climactic, leaving us surprised by its coldness.

Actors Jacob Warner and Rose Riley are a strong coupling, as Romeo and Juliet respectively, both beaming with dedication and admirable for bringing to the stage an adventurous attitude, that earns our investment into the story. Their chemistry may not be consistently searing, but they certainly make the union believable. Also remarkable is Blazey Best in the role of Mercutio, sensational with the flamboyant masculinity she performs, demonstrating great rigour and faultless instincts, along with extraordinary agility, to deliver the most engaging scenes of the production.

The set features two large platforms, designed by Anna Tregloan who introduces an appealing modern sensibility, with black gleaming surfaces and an abundance of black costumes. Lights by Benjamin Cisterne are conservatively but effectively rendered, always to offer enhancement and never to detract from the drama. Music by Max Lyandvert, while insufficiently sentimental at crucial points, is wonderfully haunting and meticulously guides us through every emotional peak and trough.

A 13 year-old girl dies by her own hands, because her family forbids her to act on her heart’s desire. This can seem outlandish, yet we know that suppressing a person’s nature, always yields traumatic results. The young need to be guided, but they also need to be listened to. Much as we feel the urge to impose upon them all of our values, it is forever prudent to open our minds to what newer generations can teach.

www.bellshakespeare.com.au