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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Clybourne Park

Ensemble Theatre, March 19

Briallen Clarke, Cleave Williams, Paula Arundell and Nathan Lovejoy. Photo: Clare Hawley

Briallen Clarke, Cleave Williams, Paula Arundell and Nathan Lovejoy. Photo: Clare Hawley

There was such interest in Clybourne Park that the Ensemble Theatre production sold out before opening so two performances in Chatswood have been added.

Written by American actor-playwright Bruce Norris, the play arrives in Sydney trailing numerous awards including the 2011 Pulitzer Prize for Drama, the 2012 Tony Award for Best Play and the 2011 Olivier Award for Best New Play. Expectations were therefore high – and the Ensemble production more than meets them.

The pithy drama straddles 50 years in a Chicago suburb. It begins in 1959. A clearly unhappy couple – the angry, taciturn Russ (Richard Sydenham) and his over-cheery wife Bev (Wendy Strehlow) – is packing up their home with the help of their black maid Francine (Paula Arundell).

Their local preacher (Thomas Campbell) arrives, clearly hoping to have a meaningful conversation with Russ, followed not long after by a neighbour called Karl (Nathan Lovejoy) with his deaf, pregnant wife Betsy (Briallen Clarke).

Politely outraged that they have sold the property to a “coloured” family at a knock-down price (for reasons revealed later), Karl tries to convince them to change their mind, his appalling bigotry expressed in the nicest way possible.

When Francine’s husband Albert (Cleave Williams) arrives to pick her up, his attempt to help Russ becomes excruciatingly awkward.

The second act is set in 2009. A white couple (Lovejoy and Clarke) has bought the run-down house in the now predominantly Afro-American suburb and wants to rebuild. This time, there are objections from a young, black woman (Arundell) who wants the history of the area to be respected.

Clybourne Park is a provocative play with some truly cringe-making moments, including several rancid jokes. But it is also very funny and sad as it tackles racism, political correctness and real estate, while weaving in grief and post-traumatic stress disorder too.

You’re aware that the play’s neat structure – which has the cast playing two different sets of characters across the two time-frames, some of them related – is well-crafted if not contrived in its balanced halves and set-piece debates. However, it’s so cleverly done and the writing so good that it works.

Tanya Goldberg directs a terrific production on a set by Tobhiyah Stone Feller that manages to make the stage look much bigger than usual (a feat that Lauren Peters has pulled off with equal flair for The Drowsy Chaperone currently playing at the tiny Hayes Theatre Co). The way the house is transformed into a graffiti-covered state of disrepair during the interval is very cleverly done.

Goldberg has elicited uniformly strong, utterly truthful performances from her excellent cast who work together as a well-oiled ensemble.

Clybourne Park could easily be set in Sydney, where right now there are plans for public housing in prime, inner-city locations to be sold off by the NSW State Government, despite the long-standing history of the area.

It’s a thought-provoking play that has you squirming at times and underlines with discomforting power that attitudes haven’t changed anywhere near as much as we’d like to think.

Clybourne Park runs at the Ensemble Theatre until April 19 and then at The Concourse Chatswood on April 23 & 24. Bookings: 9929 0644