Love’s Labour’s Lost and The Importance of Being Earnest

Love’s Labour’s Lost

Bella Vista Farm, December 12

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Lara Schwerdt, Emily Eskell, Sabryna Te’o and Madeleine Jones in Love’s Labour’s Lost. Photo: Maryne Rothe

Sport for Jove’s outdoor season is always something to look forward to during the Sydney summer (weather permitting) and this year’s production of Love’s Labour’s Lost is a delight.

I saw the play at Bella Vista Farm Park in the Hills Shire and have been tardy in reviewing it so that season is now over. However, you can catch the production at Everglades Gardens in Leura during January – and it’s well worth it.

At Bella Vista Farm, Sport for Jove has a new purpose-built stage. With a lighting rig and backstage area, it is better equipped for the cast and crew. Constructed at the bottom of a gently sloping hill, it also provides better sightlines for the audience who can either sit on a picnic blanket, or a little further up the hill on provided plastic chairs. The set-up may not have quite the same charm as when the company performed in a courtyard in front of the farmhouse or in the nearby shed, but it is eminently practical.

What’s more, the set (co-designed by Damien Ryan and Anna Gardiner) is vibrantly attractive in a shabby chic kind of way with wisteria-draped screens and walls and a “marble” floor: a staging that sits well and looks good in the outdoor setting under Sian James-Holland’s lighting.

Love’s Labour’s Lost is one of Shakespeare’s early, rarely performed comedies. It’s a wordy piece though it never feels cumbersomely so here. In his program notes, director Damien Ryan writes that he has removed the play’s “most impenetrable material” but admits that some of the language remains “a curiously knotted garden”. However, there’s lots of wonderful poetry and the production rollicks along with such an infectious energy that any difficult language never becomes an issue.

The plot is light and rather silly. The young King Ferdinand of Navarre (Edmund Lembke-Hogan) and his friends Lord Biron (Tim Walter), Dumain (Curtis Fernandez) and Longaville (Gabrielle Scawthorn) take a pledge to avoid woman and wine for three years and instead devote themselves to study.

But before the ink is dry, the Princess of France (Emily Eskell) and her ladies-in-waiting Rosaline (Sabryna Te’o), Maria (Lara Schwerdt) and Katherine (Madeleine Jones) arrive and test their resolve.

A second plot involves a Spanish nobleman, Don Adriano de Armado (Berynn Schwerdt) who is bent on wooing a comely country maid called Jaquenetta (Claire Lovering). A bumpkin called Costard (George Banders) is also sweet on Jaquenette but is no match for the Don and finds himself being used at the go-between for one and all.

The women in the play are highly spirited and independent, and while attracted to the men refuse to become their playthings. As a way to increase the number of roles for women, Ryan has Longaville played by a woman in masculine attire (Scawthorn) who holds her own in the privileged men’s world. By doing so, Ryan introduces the issue of marriage equality. The device works brilliantly, without feeling at all gimmicky. When the young people eventually pair off, there just happens to be one lesbian couple.

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Edmund Lembke-Hogan, Curtis Fernandez, Tim Walter and Gabrielle Scawthorn in Love’s Labour’s Lost. Photo: Marnya Rothe

While using Elizabethan costuming, Ryan also injects a great deal of fun by portraying the officious, bureaucratic Anthony Dull (Scott Sheridan) as a contemporary park ranger.

Speaking of costuming, Melanie Liertz has done an exceptional job on the smell of an oily rag. Apparently the women’s gowns are made from painted canvas. Amazing.

Ryan’s cast is terrific. Some handle the language better than others, but overall it’s performed with a zest that fills the air, sailing effortlessly to the top of the hill. Beryn Schwerdt is hilarious as Don Adriano, flouncing around in melodramatic fashion with a fruity, comedic Spanish accent to match.

Aaron Tsindos is also funny as the Don’s manservant Moth. Scawthorn is impressive as Longaville, Lembke-Hogan exudes confident poise as Navarre and Walter is dashing as the serious, cynical Biron. But all the cast – which also includes Wendy Strehlow and James Lugton – are on song. A fun night.

The evening begins with a short curtain raiser: Josh Lawson’s Shakespearealism, a clever, 30-minute send-up about Ralph Shakespeare, a young playwright who pioneered realism on stage but lived forever in the shadow of his brother William. Directed by Lizzie Schebesta, with Lembke-Hogan as Ralph, James Lugton as jaded theatre manager Philip Henslowe, and Scawhtorn and Tsindos as two actors, it’s a cute piece but makes for a long night.

The Importance of Being Earnest

Bella Vista Farm, December 19

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Deborah Kennedy as Lady Bracknell and Scott Sheridan as Jack Worthing. Photo: Marnya Rothe

Oscar Wilde’s The Importance of Being Earnest is one of the greatest comedies of all time, but I’m not sure that the play with its witty repartee and drawing room settings lends itself to an outdoor production in the same way that Shakespeare does. Damien Ryan directs an enjoyable enough production but it often feels a bit try-hard in the comedy stakes. The slapstick routine of Algernon (Aaron Tsindos) and his manservant Lane (James Lugton) falling off the stage doesn’t sit right in Wilde’s stylish world, nor does Cecily (Eloise Winestock) gagging on the name Algernon. What’s more, I didn’t find any of that particularly funny.

Some of the gags work well – the running joke about the servant’s bell is amusing – but the portrayals of the gun-toting Cecily and hyper Gwendolen (Claire Lovering) feel far too overplayed.

Deborah Kennedy has the style absolutely right as Lady Bracknell and nails every laugh, delivering the famous lines as if they’ve never been said before in a standout performance. Wendy Strehlow is also on the money with Miss Prism, while Tsindos has the measure of the witty, devil-may-care Algernon.

Love’s Labour’s Lost and The Importance of Being Earnest, Everglades Gardens, Leura, January 9 – 24. Bookings: http://www.sportforjove.com.au

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The Young Tycoons

Eternity Playhouse, May 20

Edmund Lembke-Hogan and Andrew Cutcliffe. Photo: Noni Carroll

Edmund Lembke-Hogan and Andrew Cutcliffe. Photo: Noni Carroll

A smash hit in 2005 and 2006, Darlinghurst Theatre Company is reviving CJ Johnson’s gleefully corrosive satire at its new venue.

Subtitled “a ruthless comedy”, The Young Tycoons is set in 2003 as two aging Australian media moguls start to hand over control of their empires to their sons.

The warring families are fictionalised, of course, but no prizes for guessing who they’re modeled on.

The fathers and their heirs are a study in contrasts. The bullying, potty-mouthed Ted Vogler (Laurence Coy), now focused primarily on television, is a high roller, loves cricket and has a dodgy heart, not helped when his “knucklehead” son Kim (Edmund Lembke-Hogan) loses a billion in a bad investment.

Liam Warburton (John Turnbull), who dominates the nation’s newspapers, is cool, pragmatic and US-based, while his suave son Trevor (Andrew Cutcliffe) is Ivy League educated.

Then there are the son’s girlfriends (Paige Gardiner and Gabrielle Scawthorn), a business journo from an opposition broadsheet (James Lugton) who has them in his sights, Liam’s long-serving, right-hand-man Donald (Terry Serio), and Kim’s personal assistant/press secretary (Briallen Clarke).

It’s a world where wives are picked as if part of a business deal – though the women in the play are no pushovers.

Johnson’s script unfolds over numerous short scenes not unlike a TV drama but director Michael Pigott keeps things moving snappily on Katja Handt’s excellent, sparse set with its curving plywood wall, helped by Murray Jackson’s jazzy music.

The writing is robust with plenty of laughs. Act I takes a little time to hit its stride but the play ramps up in Act II when there is more punchy drama between the characters.

Johnson decided not to update the play but has added a few new references (Grange, Barangaroo), while a punch-up was apparently included just days before the James Packer-David Gyngell street brawl.

Lembke-Hogan is outstanding as the pugnacious, not-so-smart Kim, revealing flickers of self-doubt as he tries to assert himself with blinkered, puppy-dog impulsiveness. Serio is also excellent as the veteran newspaperman who finds himself becoming collateral damage, while Turnbull and Coy contrast each other nicely as the two rival media barons. But all the cast are terrific and deserve praise.

Johnson doesn’t depart too far from reality so there are few real surprises, particularly since this era has been much picked over of late on TV. However, the play plugs into Australia’s continuing fascination with its business heavyweights offering an entertaining, fly-on-the-wall look at the lives of the filthy rich and very powerful.

The Young Tycoons runs until June 15. Bookings: 02 8356 9987 or www.darlinghursttheatre.com

A version of this review ran in the Sunday Telegraph on May 25

All’s Well That Ends Well

Seymour Centre, April 3

Francesca Savige and Edmund Lembke-Hogan. Photo:  Seiya Taguchi

Francesca Savige and Edmund Lembke-Hogan. Photo: Seiya Taguchi

With a new production of All’s Well That Ends Well, created for the large York Theatre at the Seymour Centre rather than for one of its outdoor seasons, Sport for Jove confirms once more that it is one of Sydney’s most impressive independent companies and its artistic director Damien Ryan an exceptionally fine director of Shakespeare.

One of Shakespeare’s so-called “problem plays”, All’s Well That Ends Well is rarely seen. It is a tricky piece: a dark comedy set against a backdrop of war, in which Helena, a smart, virtuous, beautiful young woman does her all to win the love of Bertram, a young French count and seemingly undeserving young whelp who treats her with disdain. He doesn’t love her so doesn’t want to be forced to marry her – fair enough – but his rejection is brutal.

The happy denouement is achieved thanks to a bed-swapping trick and an implausible back-from-the-dead scene – but Ryan’s intelligent, bold, contemporary production takes all this in its stride and not only gives us a compelling drama, with plenty of humour, but one that is very moving at the end.

In a nutshell, Bertram’s mother adopted the orphaned Helena after the death of her father, an eminent physician. While Bertram views her in sisterly fashion, she loves and desires him.

Helena follows Bertram to Paris where she cures the king of a fatal illness. As thanks, the king allows her to choose any husband. Bertram is horrified when she picks him. Though forced to marry her, he refuses to sleep with her and flees to fight on the frontline in Italy, vowing that he will never be her husband until she can get the ring off his finger and bear his child.

Helena sets out on a barefoot pilgrimage and eventually encounters three women, one of whom is being courted by Bertram. Through their help, she finally wins her heart’s desire.

Battles of all kinds rage in the play. A literal war provides part of the backdrop but love and sex are also frequently referred to in military-like terms.

Ryan’s production begins with Bertram (Edmund Lembke-Hogan) sitting on a sleek, glossy black four-poster bed playing a war game on a gaming console, the sounds of battle filling the air as Helena (Francesca Savige) enters in shorts, tights and red Doc Martens to do the hoovering.

Antoinette Barboutis’s set design centres on the one clever, versatile structure, which transforms from the four-poster bed to a sauna-like steam room, military training equipment, a field hospital and Helena’s deathbed. Apparently there are sightline problems if you sit in the side seating blocks but from the front it’s a very effective devise that morphs quickly, making for fluid scene changes.

Ryan tells the story clearly and inventively, driving his production with a hard-edged, modern, punchy energy, complimented by David Stalley’s sound and Toby Knyvett’s lighting. At the same time, the strong cast handles the language exceptionally well, by and large, with the meaning and poetry shining through.

There are lots of clever little touches, which illuminate and entertain without feeling at all gimmicky. Helena is seen reviving a swatted fly to illustrate the magical healing powers she inherited from her father and will use to save the king, while the use of smart phones for Bertram’s rejection of Helena and her bedding of him work a treat.

As for the male nudity in the scene in which all the bachelors are presented for Helena’s consideration, it’s very funny yet apposite. Without knowing most of them, it really is a meat market.

Portraying the three women who help Helena as nurses at a field hospital for wounded soldiers is also an intelligent decision, further marrying the themes of love, sex and war.

The performances are robust and considered across the board. Lembke-Hogan has a strong stage presence and manages Bertram’s sudden emotional conversion at the end so well that it is genuinely moving. Against the odds, we are left feeling that a happy ending between he and Helena is genuinely possible.

Robert Alexander is a standout as the king – frail and at death’s door one minute then in commanding, authoritative form the next, while George Banders brings emotional depth and comic nous to the role of the cowardly Parolles.

But all the cast – which also includes Savige as Helena, Sandra Eldridge, James Lugton, Eloise Winestock, Teresa Jakovich, Megan Drury, Chris Stalley, Sam Haft, Robin Goldsworthy, Chris Tomkinson, Damien Strouthos and Mike Pigott – deserve praise.

Running for three hours and ten minutes, there are times when you feel a little editing might not go astray but no matter. This is a great chance to see a little-staged play in a clear, intelligent, funny and visceral production.

All’s Well That Ends Well is at the Seymour Centre until April 12. Bookings: www.sportforjove.com.au or 02 9351 7940