This was an inventive and fast paced season for Bard on the Beach. With three comical, crafty plays and one major drama they were certainly off to a good start.
My experience of the season began with a steampunk Comedy of Errors. For such a convoluted play, this was the perfect vessel. The constantly moving set, outlandish costumes, and strange performances easily heightened the absurdity. It’s full of slapstick humour and silly moments, with lots of space for the embellishments that director Scott Bellis used so well. Although not one of Shakespeare’s finest works it was a good start to the season, especially for actors Sereana Malani (Adriana) and Ben Elliott (Antipholus of Syracuse). Malani captured my attention every time she was on stage. Elliott, who has proved himself musically in many other Bard plays, was uproariously funny as the confused newcomer.
King Lear was the second main stage production, and it largely fell flat. This is a massive production to put on but the script can be cumbersome to do without losing audience attention, and unfortunately for some it did just that. At the start, Benedict Campbell fell into the problem of overemphasizing every line, but by the second act he seemed passive and afraid of the madness and anger required of him. The sisters (Jennifer Lines, Regan and Colleen Wheeler, Goneril) kept too many of their Tempest mannerisms for this much more serious play, getting laughs in a play that should not provide them. Michael Blake (Edmund) and Nathan Schmidt (Edgar) had some of the most interesting moments, each providing thoroughly nuanced portraits of their characters.
On the Howard Family Stage, Love’s Labour’s Lost took us on a rollicking, musical 1920s adventure that hit the jazz classics and easily express the character’s emotions. Chicago in the Roaring Twenties bring brilliant costumes and the speakeasy vibe that pairs well with Ben Elliot’s musical direction. Josh Epstein (Berowne) stands out as the king’s friend and lover of Rosaline. His voice is beautifully rich and his emotions are immediately evident. The slight audience interaction is both funny and complementary to the 20’s style, as this play is more an adaptation than a direct reproduction of Shakespeare’s creation.
King Lear’s actors took to the Howard Family Stage for C.C. Humphries novel Shakespeare’s Rebel. Set in Elizabethan London around Shakespeare’s Globe Theatre and a potential revolution, John Lawley (Benedict Campbell) must separate himself from his past on the battlefield, help his friend William Shakespeare to write the play Hamlet, and clean himself up to win back his beloved Tess and son Ned. With so many pots and subplots throughout, it was amazing to see this novel put together so masterfully on stage. Although I found Campbell too overwhelming as King Lear, he seemed to find his footing in this production. This is where Jennifer Lines (Tess) and Colleen Wheeler (Queen Elizabeth) shine. Lines is feisty and smart, a clear choice for Lawley to pursue, while Wheeler masters the drama of Elizabeth as I hoped she would have in King Lear. The Bard’s own Christopher Gaze has directed a veritable star for the 2015 season, engaging and funny without overwhelming audiences who are used to Shakespeare’s own writings.
Both of the smaller stage performances were my favourite for the year, drawing my attention back again and again.