by Adam J A Cass at La Mama, Nov 23 until December 2, 2001
Reviewer: Kate Herbert
It is puzzling why playwright/director, Adam Cass, chose to
write this play based on Shakespeare's thirty-seven plays - puzzling mainly
because it struggles to work as a piece of theatre.
Seven actors appear in Cass's ninety-minute narrative that
involves numerous pseudo-Shakespearean themes including family, lovers,
betrayal, patricide and some unseen terrorists.
The problem is that the narrative is incoherent and the form
awkward. The style keeps changing and the
titles of scenes interrupt the flow of story.
The performers and director confuse shouting with passion.
The actors do not lack commitment. All seven give the play their best shot.
However, characters are two-dimensional and display no
genuine emotion. The actors are not connected to the text so they look
uncomfortable and tense most of the time.
The story goes like this. Henry, a father and King (Ian
DeLacy) is wounded but was evidently saved by Julia (Hayley Butcher) whose
sister, Rebecca, (Vicky Fifis), is a prophetess of sorts.
William, Henry's son, (Lucas Wilson) craves the crown,
marries Elizabeth (Justine Beltrame) and suffers the indignity of his father
seducing her.
Confused yet? I still am. This is a valiant effort to create
a new work that incorporates ideas and incidents from all the plays in
chronological order. Each play warranted a two or three minute scene and was
announced by the Prologue (Noni Bousfield) and Epilogue (Chris Molyneux).
It is a tall order to attempt to write a script that meets
the level of its subject, the greatest English language playwright. Snippets of
Shakespeare's own dialogue and poetry peep out of the play and shine. The
audience clearly enjoys these references and quotations.
The design, by Paula Levis, is a clever and effective
wallpapering of La Mama with enormous black and white printed text from
Shakespeare's plays.
The soundscape, (Jeremy Collings) Anthony Pateras) it has
some appropriate and interesting moments but is often too loud, intrusive and
poorly placed.
More concentration on the central plot line before trying to
feed the Shakespearean references into it might have helped the narrative but,
as it stands, William 37 is convoluted and confusing.
By Kate Herbert
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