Shakespeare in Love

THIS IS a triumph on many levels for what is effectively a love letter to the theatre from Townsville’s resident professional theatre company, TheatreiNQ. 

I cannot apply enough superlatives to this truly outstanding production which would have graced any national or international stage.

It once and for all shatters that ridiculous urban myth that regionally-based theatre should for some reason be looked down upon as if standards are compromised simply because of location. In truth, over the past 15 years or so the very word TheatreiNQ has come to mean exactly the opposite. Every successive production this company has staged has effectively raised its own bar in excellence – no matter which genre is tackled.

Shakespeare in Love now sets the bar for the highest standards in theatrical production. 

Like every love letter, this play is about the deepest affection, appreciation and love for the theatre. Its roots are so steeped in theatrical lore and traditions that it is difficult to believe that it was a film first. Tom Stoppard and Marc Norman won the Academy Award for their original screenplay, one of seven Oscars the film carried off in 1998 which included Best Film (the first comedy to win the top award in 20 years), Best Actress (Gwyneth Paltrow) and Best Supporting Actress (Judi Dench).

This is a romantic comedy with a slight but delightful plot. It is about a completely fictional love affair between playwright William Shakespeare and Viola de Lesseps while he struggles to write Romeo and Juliet (originally – and hilariously - entitled Romeo and Ethel, the Pirate’s Daughter). Woven into the plot are characters not only based on historical figures (such as fellow playwrights Christopher (“Kit”) Marlowe and John Webster), but also ones that are clearly depicted in Shakespeare’s works.

There are many of the theatrical plot devices characteristic of the Bard’s works including cross-dressing, mistaken identities, and the "play within a play". Add to this many layers of theatre in-jokes and various comic allusions to Elizabethan literature and the result is the most affectionate, loving and effective tribute to Shakespeare and his works.

Director Terri Brabon has clearly directed this production with equivalent warmth.  She has combined every component magnificently – concept, interpretation, direction, players, acting, the superlative set, the costumes, the lighting and even the atmospheric music.

Add to this another particular level of triumph. Since 2012, TheatreiNQ has been running The Bridge Project, a model which develops emerging professionals and prepares regional talent for highly competitive tertiary education. Three of those alumni – Lachlan Stevenson, Brittany Santariga and James Thomasson (the latter two performing regularly with Bell Shakespeare Company) have returned to Townsville to play the three young leads.

It has been a pleasure to watch these three actors develop their craft with TheatreinQ over the years. For them to return to appear in this production is a testament to the long-term investment that TheatreiNQ’s founders, Terri Brabon and Brendan O’Connor, have made in the future of theatre in North Queensland.

Lachlan Stevenson is a magnificent and commanding presence as Will Shakespeare, who begins his journey with writer’s block. He becomes inspired by his new muse, Viola de Lesseps, played with an English-rose clarity and definition by Brittany Santariga. The pair not only provided a delightful air of authenticity to the love affair between their Will and Viola, but it has to be said that their rendering of the Romeo and Juliet death scene was faultless.

James Thomasson imbued the comic role of Ned Alleyn with many hilarious, scene-stealing moments, manipulating every scene with his magnetic stage presence, wonderful voice work and expert comic timing.

Added to this mix was a company of actors who provided characters with comic and (at times) characteristic bawdy moments galore, but never was the playing one step out of balance.

There were comedy gems from Brendan O’Connor, thoroughly enjoying himself as Henslowe the wily theatre producer; Arminelle Fleming equally relishing her role as Viola’s nurse; Michael Sams in three totally contrasting roles, Lord Tilney, Sir Robert de Lesseps and the ferryman; Michael Gleeson as the arrogant Wessex; Beth Honeycombe as Elizabeth I; Robert Street as the starstruck Fennyman dying to be on stage; the young Gus Loveday as Webster, and a delightful contribution from Brett Greenland as the stuttering Wabash.

Brendan O’Connor’s set was his best yet, and Daniel Lobley’s lighting design complemented the production magnificently. Once again Kathy Brabon’s costume design was inspired.

Special mention must be made of the music, directed by Michael Gleeson. The atmospheric use of live music lent a certain authenticity to the production.

Director Terri Brabon said in her program note that this play was about “falling in love with the theatre”.

I could not agree more. I smiled throughout, laughed and guffawed, and ultimately came out having loved every moment and would gladly have walked straight back in and seen it all over again.

Trevor Keeling

Photographer: Chrissy Maguire