Richard III (or almost)

Bard meets Beckett? (or almost)

Two actors are imprisoned in an undefined institution, condemned to play scenes from Richard III each time a bell is rung in their purgatory. They’re trapped in an abstract, absurdist world where they might wait in equal discomfort for Godot.

Sadly I went through an absurdist prequel, trapped in my small motorised metal box circling the southern end of Newtown in search somewhere to park it legally, and missed the first part of the play’s cyclical pattern, having to catch up on it in foyer chat afterwards. The parking lot under which the real Richard was buried would have been a real bonus.

I’ve mulled over how I can actually review play under these circumstances.

Richard III (or almost) premiered in Europe, where Australian playwright Timothy Daly’s work is probably performed more widely than it is here – to audience sensibilities more accustomed to non-linear, non-narrative theatre.  The play was well received on its premiere at a prestigious French festival.

Daly pushes the envelope, and is determinedly ambiguous, leaving his audience space to think and reflect, not only on the events of the play, but who is actually the audience / observers.

Like his great success Kafka Dances, Richard III (or almost) is ripe with allusion.

The play mainly seems left-of-field till the later stages, when a more concrete story, a murder conspiracy, dominates as a not altogether satisfying reason for the incarceration.

Themes include the essence of acting, as power and status shifts between the two performers, Gerry Sont and Lucas Connolly in adept, physical performances, and varied, diverse interpretations of sections of Shakespeare’s original. Daly poses questions about theatre funding and government’s relationship to the arts too. It’s a night for intellectual rather than empathetic connection.

Video and projection at the lower end of the technology scale is used impressively to good dramatic effect throughout in a fringe production which does great service to this new work.

Hopefully the King Street (formerly Newtown) Theatre will continue to develop as a home for alternate / off-off-Broadway work under the direction of Markus Weber.

Just try getting there right on 7pm for a 7.30 start during the week, so you can grab a spot as the King Street Clearway finishes.

Neil Litchfield