Love, actually, is not all Bard
Shake & Stir’s mash-up of a Shakespeare classic is a modern take on an Elizabethan love story.
Would William Shakespeare turn over in his grave if he witnessed Shake & Stir Theatre Co’s Brisbane Festival offering, The Lovers, inspired by his popular masterpiece, A Midsummer Night’s Dream?
Probably not, because the Bard’s universal plotlines and themes are robust and can withstand reframing. Or, as this company now celebrating its 20th anniversary describes the process: “reclaiming, re-mixing and re-releasing.”
There’s not much of a plot. Shakespeare’s storied complexity has been stripped back and set in today’s reality of dating apps, online obsession, ghosting and gay culture, with a hint of bondage and cage dancing while exploring clubbing aesthetics.
Another setting, complete with stunning visuals, is new-age Athens, also a world of dating apps, online presence, ghosting, double denim with floral applique and chunky pink lace-ups.
Two young men and two women are the victims of fraught romantic attachments that are manipulated by Oberon, dressed to the nines in a sparkly crimson rhinestone ensemble with a cupid arrow on a cowboy hat, played to the hilt by Stellar Perry.
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vocal eruptions of disapproving boos and cheers spurred the absurdist melodrama on
Puck, admirably embodied by Jayme-lee Hanekom – dressed in an amalgam of rave culture and Elizabethan fashion- richly nuanced her singing. Puck muddles up a magical intervention into the romantic attachments of the star-crossed lovers and endures Oberon’s scorn. The six-strong acting ensemble are infectiously energised and enthusiastic.
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Just as in Shakespeare’s day, the audience joined in jeering Demetrius’s abuse of Helena, yelling encouragement and guffawing at the jokes. The crowd became a dynamic element in this brash, high-octane show.
The vocal eruptions of disapproving boos and cheers spurred the absurdist melodrama on and put muscle into the belted rock playlist composed by Laura Murphy, who also penned the lyrics.
Incidentally, the band positioned at the back of the stage, occasionally visible, were a great asset with assured musical direction from Heidi Maguire.
In a production boldly directed by Nick Skubij for maximum theatrical impact, lighting designer Trent Suidgeest saturated the stage with glowing Barbie pinks and blushing hues. The lighting projections were stunning – a bruised sky of roiling clouds, glittering stars and shifting, vivid abstractions with fog machines.
Yvette Lee’s choreography captures hip-hop moves and the lively dance sequences are rewardingly ironic, at times acrobatic and laced with humour, if not highly skilled. Lee’s direction enables the various personalities to be filtered through her moves. This particularly applied to Demetrius, played by Jason Arrow (Hamilton), who admirably milks all opportunities for humour in framing his oafish character’s contradictions.
Natalie Abbott deserves much credit. Her pleasing vocals and intensity distinctively fleshes out thwarted Helena, who dotes on Demetrius. Mat Verevis hits the spot as the sensitive yet resolute Lysander. Jenni Little’s Hermia has mettle and heart and she delivers her rock-infused anthems with stylish strength and clarity.
Apart from instances of dubious sound quality needing refinement and a temporarily flagging spirit post interval, this charming, witty show is new-age pantomime, a joy ride propelled by exhilarating energy. The spectacular lighting effects are a delight.
The Lovers continues at the Playhouse, QPAC, until October 5.