Unique, diverse and delightful to watch

The SGCNZ UOSWSF, a Shakespeare competition held for high school students, has been around since the Shakespeare Globe Centre New Zealand was founded in 1991. Twenty-four regional competitions are held across the country, and from these a 15 minute and 5-minute scene from each region is selected to compete at the National competition held in Wellington. However, due to COVID19 restrictions this year, a digital ‘e-National’ competition was put into place, with scenes being filmed and sent in for judging by mid-June 2020. Today I’ll be reviewing a 15 and a 5-minute scene from different regions.

The Tempest – Act II sc ii
Taupo-nui-a-Tia College
Student Director: Emma Sutton

15 Min Scene

Delivers heavily on comedic wit

Following Caliban and his discovery of two shipwrecked New Zealanders on a deserted island which he has made his home, we explore the banter and drunken madness of Stefano and Trinculo in Act II Scene II of Shakespeare’s The Tempest. William Shakespeare wrote The Tempest in 1611, making it the final comedy written (and performed first in the November of the same year at Whitehall Palace, London) and the second to last play he wrote that has been found, following his death shortly after in 1616. However, the youthfulness of the college actors doesn’t spoil the rendition of the comedy and provides the wittiness and cheeky remarks that should be highlighted in Shakespeare’s comedic works.

I can firmly say that this short 15-minute excerpt exceeds expectation, with the flow of language between the actors and the audience being smooth and easy to follow. Aside from some awkward, nervous tension between actors in times of stillness, the animated comedic qualities are far from lost and the costumes only complement this. Costuming for Caliban is distinctly communicated, with pieces of his costume being used as hideouts and props for actors, much like how it would be used if one had been stranded by oneself for an extended amount of time as Caliban has.

Keegan Delaney, as Caliban, connects incredibly with the audience and provides a fantastic amount of energy for Joseph Sutherland (Trinculo) and Armstrong Turner (Stefano) to feed off.

For just three people to occupy a stage successfully for an extended amount of time is an extremely large challenge which the actors in this Taupo-nui-a-Tias rendition of The Tempest meet with flying colours’ delivering heavily on comedic wit.

Find this at SGCNZ UOSWSF 2020 – National Festival – Part 3
https://glassgeckofilms.vhx.tv/videos/sgcnz-uoswsf-2020-national-performances-part-3
The Tempest – Act II sc ii: 19:47

Julius Caesar – Act II sc ii; Act III sc i
Wairarapa College:
Student Director: Thorin Williams
5 min scene

An enjoyable rendition

Julius Caesar is a Shakespearean play I’ve seen done many ways, and this traditional way provides a classic rendition performed by students from Wairarapa College. A lot of information and script is jammed into a short 5 minute scene, and so requires a couple of re-watches to really grasp the themes and purpose of the performance.

Although many speaking roles are crammed into the short piece, it is Ash Ferguson’s performance as Julius Caesar which truly makes this production enjoyable. Due to the sheer mass of people on the stage, most character arcs are lost and difficult to grasp. Ferguson makes his role as political leader known from an early point in the scene and this helps audiences to understand the plot and follow the general gist of the two scenes performed.

Costuming for this scene is classic, with the use of togas, allowing the setting, time and era to be instantly known to audiences. Staging, however, proves clunky and feels claustrophobic for audiences, especially with the number of extras used which may not have been necessary to tell the story successfully.

If Wairarapa College had done a 15 minute excerpt from Julius Caesar instead, they may have communicated the story with more success and allowed other actors/actresses more opportunity to deliver exciting renditions of the characters. However, with the glistening performance from Ferguson in the title role, this scene is an enjoyable rendition on the classic that is Julius Caesar.

The scenes from students in the SGCNZ UOSWSF always prove to be unique, diverse and delightful to watch, and it’s inspiring to see the young generation still so involved in plays written over 400 years ago.  

Find this at SGCNZ UOSWSF 2020 – National Festival – Part 3
https://glassgeckofilms.vhx.tv/videos/sgcnz-uoswsf-2020-national-performances-part-3
Julius Caesar – Act II sc ii; Act III sc i: 49:26

[Note: These reviews are the result of Florence Cater’s participation in a Theatreview/SGCNZ New Reviewer Mentoring Partnership Programme.] 

Copyright © in the review belongs to the reviewer

Twelfth Night: Compilation
John Paul College, Rotorua Lakes
Student Directors: Hazel Hagan, Samantha Carter
5 mins

‘Dream Team’?

John Paul College’s five-minute performance of Twelfth Night does an impressive job of showing one of the plotlines of the show with two characters – Viola and Cesario. From the outset, the set, actors and clothing are mirrored, showing the duality of Viola’s two versions of herself. Lines are shared back and forth and to each other as one Viola puts on masculine clothing to become Cesario. Whilst Viola herself is nervous at the prospect of becoming Cesario, Cesario is confident and ready to go, with the clothing acting as armour for the adventure ahead.

Cesario heads off to serve Orsino, leaving Viola ‘in her head’, repeating the line “One face, one voice, one habit”. This line is spoken as a mantra to keep her feminine side at bay and hide her feminine thoughts. Cesario returns to tell Viola the events of Olivia being in love with her. The feminine Viola is the most sympathetic, as she knows what it means to have unrequited love.

Cesario and Viola turn on each other as the lines are spoken at the same time – “Oh time, thou must untangle this not I” – and repeat the lines, “I am man” and “I am woman”. As Viola accepts both halves of herself, the masculine and the feminine – Viola and Cesario – she steps through the mirror and acknowledges the truth in all of us: that although we may look like a man or look like a woman, there is masculine and feminine in everyone.

This performance by these two actors in five minutes manages to show the entirety of Viola’s Twelfth Night experience, giving her the time and energy she deserves. It is clear that both Samantha Carter and Hazel Hagan spent a great deal of time thinking of not only the text but also physical movement. The mirrored movement and lines spoken in unison are well rehearsed and cleanly spoken. I commend not only the thought and effort put into this scene but also the actors’ focus and delivery. Not even loud noises from outside the classroom deter their focus. The lines are spoken with clarity and natural rhythm.

I wholeheartedly wish that these two intelligent theatre makers continue to work together and keep creating works such as this. May I even dare to say, ‘Dream Team’?

Find it at SGCNZ UOSWSF 2020 – National Festival – Part 7
https://glassgeckofilms.vhx.tv/videos/sgcnz-uoswsf-2020-national-performances-part-7
John Paul College, Rotorua Lakes: Twelfth Night: 39:46

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Much Ado About Nothing: Act III sc iii; Act IV sc ii
Rangi Ruru Girls’ College
Director: Peter Rutherford

Deserves live audience applause and laughter 

This scene starts off with a very beloved gag of coconut shell horse gallops and a Dogberry in a very comedically inspired outfit. It is ill-fitting and over the top: a perfect choice for Dogberry’s personality and low status. Georgia Moynihan’s very commendable Dogberry speaks with a clear and easy rhythm, showing a deep understanding of her character. If there was an audience present, I am sure I would hear their warm laughter.

As Oatcake and Seacole, Hannah Mansfeild and Lauren Small do an excellent job of playing their parts and staying serious, which shows a great contrast to Dogberry’s extravagant stupidity. The running gag of Verges forgetting things off-stage is a clever idea and shows clear comedic understanding.

Verges, played by Lily Johnson, is the perfect lackey to Dogberry. She does an excellent job of reacting and always being present. Borachio speaks well and is clear but could have been more a villain. The height difference between Conrade and Borachio is clever casting. The Sexton (Harriet Rance) plays their part with seriousness and character.

The courtroom is all played in Dogberry’s mind: it is a very serious and very important interrogation, even when he is saying the wrong things. The Sexton, Conrade and Borachio look on in bewilderment as Oatcake, Seacole, Verges and of course Dogberry mix up words and forget things.

The costumes really shine in this piece, from Dogberry’s ill-fitting and outlandish suit to Borachio and Conrade’s matching leather costume pieces. A lot of thought was put into the costumes and it shows.

Having a simple set of two chairs and a table, allows the actors to move around the space and every inch is used, from creeping constables to the courtroom and Verges running off to retrieve forgotten items.

Comedy feeds from an audience and their loud laughter, which would have fuelled the actor’s performance to reach greater heights. The actors in this piece have great sense of comedic timing and are natural clowns, who’s performances would have been pushed and would have thrived with a live audience! All actors speak with confidence, know their lines and are present & invested in their characters, for which I commend them. The running gags (“Lantern, lantern, lantern …” – Poor Verges!), and the balance of serious and comedic characters really work in this piece and allows the actors to shine.

This piece is well deserving of a full-scale production of Much Ado About Nothing where the talented actors can get their energy from applause and laughter.

Find it at SGCNZ UOSWSF 2020 – National Festival – Part 1
https://glassgeckofilms.vhx.tv/videos/sgcnz-uoswsf-2020-national-performances-part-1
Rangi Ruru Girls’ School: Much Ado About Nothing: 17:54

[Note: These reviews are the result of Anastasia Matteini-Roberts’ participation in a Theatreview/SGCNZ New Reviewer Mentoring Partnership Programme.] 

Copyright © in the review belongs to the reviewer

Scenes from Romeo and Juliet | Macbeth 

Reviewed by Angela Trolove, 10/10/2020

Romeo and Juliet, Act III, Scene V
Mt Albert Grammar School
Student Director: David Laxon
15 mins

An important representation with poignant symbolism

In a year when being LGBT+ is still illegal in 70 countries, this queering of Romeo and Juliet is timely. Mount Albert Grammar students present Romeo waking at dawn with… Julian. Their retelling is heartening.

After Romeo departs, a rainbow scarf lying on Julian’s bed is cleverly used to symbolize controversial love. For example, disowning Julian, Capulet throws the scarf to the floor. “Beg! Starve! Die in the streets!” he says. And when Julian asks his Nurse for comfort, it is the scarf she takes and carefully folds. This symbolism is unintrusive and poignant.

However, while the lines have been memorised and are delivered without hesitation, the actors are inhibited; the chemistry between Romeo (Finn de Lang) and Julian (Al Tahir) is unconvincing. Romeo is fed up and Julian needy; they remain isolated, standing apart from each other. Capulet (Faolan Okan), an exception, moves freely about the stage. His speech is animated – he varies his volume and speed of delivery, and when appropriate he addresses us directly.

Feisty enough to dare challenge Capulet, Julian’s Nurse (Ruby Giblin) shows initiative. Yet when Julian begs her for comfort, she seems aloof. Eventually she comforts him. She kneels and lowers her voice, as though addressing a child, and I feel such relief.

The stage is set economically: one bed – on which Romeo and Julian are draped as the stage lights fade them in – and a box that serves for a window ledge.

Reflecting on the scene, love’s moral value is undisputed. The audience sides with Julian because Shakespeare has written brazen melodrama into Capulet’s insistence that Julian wed Countess Paris. Yet as a new parent I ask myself what if I didn’t like my son’s boyfriend; if I thought the match unwise?

The cast wears contemporary costume – Julian a hoodie, Romeo a t-shirt and school backpack – to pose and modernise this timeless dilemma. We have all been Julian following our heart (to the grave) while our parents make stupid arrangements. We have all been Capulet arguing with a loved one blinded by infatuation.

So while the actors are each a little isolated, I feel fortunate to have seen their contemporary version of Romeo and Julian with its touching symoblism and its relatable arguments: Romeo and Juliet as presented by teenagers – to whom carnal love is real, like we need it to be.

Find it at SGCNZ UOSWSF 2020 – National Festival – Part 3
https://glassgeckofilms.vhx.tv/sgcnz-uoswsf-2020/season:2/videos/sgcnz-uoswsf-2020-national-performances-part-3
Mount Albert Grammar School: Romeo and Juliet: 38:27 

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Macbeth, Various Scenes
Botany Downs Secondary School
Student Director: Jake Fanstone
5 mins

Shocking and enlivening 

A riveting performance. From start to finish each cast member totally inhabits his or her character. Macbeth is tormented, hysterical; Macduff is bloodthirsty, shows bravado; the Witch is in her element – taunting, shrieking, drumming, inflaming them.

This production is a shameless and excellent indulgence in human extremes. Macduff roars, he clenches his teeth, the veins on his neck bulge. “My voice is my sword!” he shouts down the length of his thrust staff. This line has weight: all three actors have lethal voices and they wield them tremendously. Panting, Macbeth finds his composure before addressing the audience directly. His speech is delicate, clear, focused.

The setting is spare: three black plinths and a pile of black body bags. Macbeth (Jake Fanstone) enters, hauling another body bag to add to the pile, from the Witch (Shalom DeSouza) slyly arises. The choreography is exceptional. The duel is sincere yet graceful, like capoeira. Macbeth and Macduff (Tanishq Ranjith) both wear white singlets and white pants, but while Macduff’s are immaculate Macbeth’s are striped with blood – telling of the murders he has already committed. The costumier fashions a horrific Witch: black loose garments allow for her fluid movements and her long hair is left loose. Veiling her face it makes her shrieks otherworldly.

The Witch is a gothic contemporary dancer. Embodying Macbeth’s torment, she shapeshifts. She squats like a toad, she’s a vulture, she slinks in the background providing acoustic special effects. She mounts a plinth and drums on it as the men duel; when Macbeth strikes Macduff, her perfectly timed clap supplies the shock factor. She causes and they are affected. And, awfully, they are aware of their hopelessness.

When Macbeth realizes Macduff does have the ability to kill him – when he gets the Witch’s prophecy – Macbeth drops his staff and stares at his hands. After the crown is literally taken from the corpse by Macduff, the Witch picks him up in her power too. The actors are in perfect synchrony. She flings him around. He is her puppet. This is a real feat both of movement and of connection between the actors.

The energy of these actors has many permutations, from staggering for breath to challenging to battle to possession, and with no shortage of madness throughout the whole frenetic five minutes: Macbeth mad with guilt, Macduff mad for revenge, and the Witch – the most bestial among them, just – mad with power. Saying that, the Witch is less a third character than a thundercloud above, the respective mental states of the men, and evil itself generally.

Macbeth by Botany Downs is shocking, enlivening; an explosion.

Find it at SGCNZ UOSWSF 2020 – National Festival – Part 2
https://glassgeckofilms.vhx.tv/sgcnz-uoswsf-2020/season:2/videos/sgcnz-uoswsf-2020-national-performances-part-2  
Botany Downs Secondary School: Macbeth: 50:18 

[Note: These reviews are the result of Angela Trolove’s participation in a Theatreview/SGCNZ New Reviewer Mentoring Partnership Programme.] 

Copyright © in the review belongs to the reviewer