Pericles, Bell Shakespear, 4 June 1995

by William Shakespeare

By Bell Shakespeare Company

At Athenaeum Theatre 1, Melbourne, until June 10, 1995

Reviewed by kate Herbert around 4 June, 1995, for The Melbourne Times

 

Pericles was one of the 17th centuries most popular plays, but it fell out of favour later. John Bell captures its entertainment potential and bawdiness in this rollicking production which has a coherent vision and tight physical direction.

 

The story tumbles on like waves echoing the inclement sea, and Neptune's fury which propels the series of events.  It concentrates on narrative not character. Theories that Shakespeares wrote Act One at an early age or that he didn't write it at all, could explain the flaws in the text: too-obvious dialogue and lack of subtlety in the verse in the early scenes.

 

It feels like the precursor to The Tempest with the silliness of Twelfth Night, too. It is really entertaining and quite light until the emotional reunion scene.

 

Whatever the reason, the text remains a bit flabby. It is not quite a history, nor a tragedy happy ending) nor a comedy (too much pain). It is, rather, a romantic saga, a quest, a hero's journey as Pericles escapes evil, seeks mentors, searches for spiritual fulfilment and love which is very popular in cinema these days (Star Wars, Raiders,). Tragedy is a good man facing disaster at the hands of the gods.

 

Bell takes advantage of the comic potential in the text, making it accessible and funny in the most unexpected places. The tacky, "Persian" brothel utilises very funny caricatures. There is great generosity in the ensemble work and performances are generally very strong, particularly from Vic Rooney (Narrator), Duncan Wass (Helicanos) and Lucy Bell as Pericles daughter, Marina.

 

Jeremy Sims is magnetic, passionate and unpredictable as Pericles. As the young man, he is light and joyful, but he is potent as the grieving, near-catatonic older king, bearing the weight of a life gone awry. His reunion with his lost daughter is a delicate and moving scene with great control and no melodrama.

 

The most telling moment was the satisfied audience's sigh of approval as the Narrator says, "Here our play has ending."

 

KATE HERBERT

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