The Two Gentlemen of Verona

Experiencing an unfamiliar play should feel like an adventure; in the case of a comedic play, ideally a fun-filled adventure. For the most part, debut directors Gary George & Angela Short have crafted a successful Shakespearean entertainment out of material that is somewhat challenging.

The rapid-fire delivery of dialogue in the opening scene demands concentration, but also starts the show off on an encouragingly confident high that the first act manages to sustain. Moments of bawdy humour are staged with impressive vigour.

The contemporary-style costumes are colourfully assembled by Lauren Murray, while the upper-level backdrop is strikingly designed by Michael Vo and skilfully lit by Richard Parkhill. Scene changes are executed with maximum efficiency and a minimum of time wasted. The music at the commencement of each act is a smartly dynamic and memorable addition.

Though The Two Gentlemen of Verona is apparently the playwright's smallest cast of characters, there are still more roles to fill here than in your typical amateur comedy, and Shakespeare's language can easily defeat an inexperienced actor (not to mention any inexperienced viewers). Fortunately, the directing duo have assembled a generally strong and dynamic team of skilled performers who can generate interest and engagement even while working with one of the Bard's less memorable texts.

Alex Antoniou possesses excellent enunciation and expression in the central part of Proteus, providing a strong initial focal point, whilst also supplying both a good match for, and interesting contrast with, Matthew Chapman's Valentine - the other gentleman of the title - whose emotional depths, when revealed, become most touching to witness. Nicholas Clippingdale brings a superb sense of comic timing and intrigue to the role of Speed.

Jack Robins applies his delightfully dry and droll sense of humour to a trio of roles, while Lindsay Dunn's Duke is outwardly affable as well as memorably violent. Bonnie McAllister's dreamily romantic and obsessive Julia is complemented nicely by Sheridan Cox's Lucetta, while Kate van der Horst delivers an ideal characterisation as Silvia. Smaller roles are cleverly cast with memorable performers such as Olivia Parker, Madison Kirby, and Timothy Tedmanson.

The inimitable Matt Houston is in typically riotous form as Lance, his comedic volatility enhanced by dishevelled costuming and resourceful use of props - including a dog named Diesel (in the role of Crab). Houston's unique intonation, quirky physicality, and skill with accents - not to mention a remarkable ability for rendering the poignant comic and the comic poignant - drew multiple ovations throughout opening night.

In the play's later stages, a dance is done with dark drama, a development that feels curious no matter which way it gets sliced - but the central trio of Antoniou, Chapman, and Van der Horst manage to navigate their characters rather skilfully through the murky waters.

While the many impressive qualities on display here may not be quite enough to make The Two Gentlemen of Verona into a classroom favourite to rival the likes of Macbeth, it is certainly enough to warrant a recommendation for adventurous audiences.

Anthony Vawser