Elizabeth - almost by chance a woman.

What a roisterous bawdy romp this proved to be! Not so much a history lesson, more a satirical look at social and political situations in our own country nowadays.

Two of our theatre royals, Carol Burns (as Elizabeth in her final days) and Eugene Gilfedder (doubling as Shakespeare, and as the royal dresser, Grosslady) lead the cast of six through the political fears and intrigues of leadership, ably supported by Dash Kruck (Court Jester ─ with parallels to our spin doctors, perhaps?), Sarah Kennedy (Martha ─ Elizabeth’s Lady-in-Waiting), Jason Klarwein (her political advisor and spy, Egerton), and John Rodgers (court musician. Mr Byrd; he also provides incidental music).

Inspirational was Simone Romaniuk’s boldly smocked fabric design representing the Queen’s befuddled brain, through which characters slip in and out discreetly, depending where her thoughts turns.

David Walters enhanced this effect with colour washes, and carefully projected lighting to point up areas of main focus.

Champion of the Fo style, director Wesley Enoch exploited facets of Commedia dell’arte, farce, travesty and scatology to point up the political moments and events he and his cast were exploring: you’ll find Anna Bligh there; Can Do, Craig Thompson; Julia’s distinctive speech pattern. The Queen’s fears, cries and abuse directed to Robert (Earl of Essex) parallel so many political coup situations here in recent years.

The dialogue is free-wheeling; I daresay this show will continue to embrace political developments in the course of the season.

Jay McKee

Images: top - Carol Burns; middle two images - Eugene Gilfedder, & lower (l-r) Dash Kruck (partly obscured), Carol Burns and Sarah Kennedy. 

Photographer: Rob McColl.