As Straylight Australia is promoting this play, we could say all kinds of wonderful things about it. Instead, this pitch is compiled entirely from reviewers' comments about the show published during its run at the Edinburgh Fringe in 2010, its Sydney Previews and the Adelaide Fringe in 2011.
Apart from italic words in brackets – there to help the flow of the narrative – all of the following text is taken verbatim from reviews of the show. References are given in footnotes which also provide links to the full reviews.
So the pitch mirrors the play: fast, fun and definitely not all our own work!
Clever Concept
Why do so many of Shakespeare’s plays feature strong, even hard-hearted, mothers? It’s an interesting question, explored in an equally interesting production from this small but highly professional casta. Perry's script is inventive, witty and well-researchedb. The scenes are well-picked and the commentary clever and funnyc.
The play examines some of the infamous and lesser-known female characters from Shakespeare's oeuvred and provides an opportunity to see scenes not often performed on stageb (and) hear some very good tough love speeches from some lesser-known playse.
The clever conceit which starts the playa, the framing device of the TV show... allowed for some interesting insightsd.
Themes of the material include lust, ego, pride and revenge – all the good stuff – and the effective execution of this crash course in the power of Shakespeare's dramas rivals that achieved by bloodthirsty Macbeth on the battlefieldf.
Fascinating Characters
Shakespeare created some of the most complex and interesting female characters, and this work drives it home. Some of them, at least, were thoroughly modern; plotting and scheming to crash through glass ceilings, wanting more and better for their offspring... Whatever their flaws, they all had spunkb.
I was well pleased with this hour of strong women characters, their lechery, madness and murderous schemes, illuminated by Mr Sf.
Audience Appeal
It’s a quick-fire introduction to a well-chosen range of Shakespeare plays, mixing the familiar with the more obscure and linked by the interesting theme of all- consuming motherhood. And it’s a credit to strength of the acting – and the choice of scenes – that I, not the world’s most committed Shakespeare fan, left the theatre hoping I’d soon see these powerful women in their unabridged forma.
The combination of crisp delivery and pieces chosen minimised the potential language difficulties of Shakespearean English for the outsiderf. For the Shakespearean novice, a number of characters may not be familiar but it may entice them to see the unabridged performanceg.
Exceptional Actors
All three of the cast are clearly classically traineda. (They) play multiple characters and do so convincinglyc. (They) deliver clarity and stylee, power and precisionj. The verse is delivered clearly and confidently and some of the jokes are surprisingly fantastici.
The three performers use only a few simple costumes, a scarf, coat or crown, to delineate between characters, the rest is done with their terrific characterisations. They continually switch characters, creating a wide range of completely different men and women in a superbly crafted piece of theatrek.
The programme lists 11 plays and no fewer than 37 characters (including the male roles, which Shakespeare himself steps up to play) – a fact which surprised me, since the pace feels well-measured and unhurried through-outa.
Shakespeare, as played by Alexander Jonas, quickly establishes an easy rapport with the audience. Jonas makes for a charming, pacy narratorl. (He) is a veritable purpose- built Bill. He fulfils an idealised, romantic vision of the wily playwright: he looks handsome and upright, and has a deep, resonant, characterful voiceb.
Once the enacted scenes that Shakespeare had participated in had ended, (Jonas) managed to jump from dramatic character back into his witty primary role incredibly well, often with a humorous sallyd.
All the mothers are played by just two women, taking their turn to join the ever-present author on stage. The technical skill is truly admirable: it can’t be easy to step off into a tiny back-stage, change your costume in a moment (each character’s individual costume is beautifully matched to their role), then step back into the light and convince the audience that you’re someone new. Convinced I was, thougha.
Both Kath Perry and Cat Martin have versatility and adaptability worthy of admiration: they jump into the skins of a coterie of roles, and back again, with deftness and distinction, distinguishing and delineating eachb. (They) are amazing, strong and feisty women who just act the living shit out of the various roles.m
Successful Show
This lively production engages the audienced, is professional and slick, as you would expect with directors like Greg de Polnay and Roz Rileye, (and) is certainly fund. Humour and verve keep the audience entertained, and the characters are clearly deliveredn.
This show was a timely reminder of just what professional actors and actresses can doa. (It) was tight, taut and fast with attention to detail and technicalities that left the audience in safe, secure handsh.
This is an exceptionally fine production that gives a unique insight into Shakespeare's handling of women in his plays. Draw your own conclusions about the actions of these fascinating women. Get a ticket while you still cank.
