Review: 'Creative adaptations, comedic climaxes and moments of terrific poignancy': Shaxcase
This year’s Shakespeare Society's Showcase, their first performance of the year, is well worth a watch. Performed at The Pegg Theatre, having run for three consecutive nights from the 17th of October to the 19th, with an additional matinee performance on the 19th, and tickets at only £7 for students, the night is more than compensated by its creative adaptations, comedic climaxes and moments of terrific poignancy.
This Friday night, anticipation was hanging in the air as I awaited the showcase. The scene was set with windows shrouded in cobwebs and pumpkin bunting, Chappel Roan blasting through the speakers as the audience filtered in. The eclectic mix of fun and horror set the scene.
The show opened with a performance from Macbeth. Three witches took to the stage donned in black cloaks, dancing about in a sinister but comedic fashion. Macbeth himself provided an intensely moving performance, as Iz Baulk laid open his vulnerable nature after the killing of Duncan. I was captivated by Lady Macbeth’s performance, played by Marre Gaffigan, showing both Lady Macbeth's firm and unbending nature, in the infamous monologue ‘unsex me…’. The final scene of the performance brought on all the characters, creating an atmosphere of chaos which surrounded Macbeth’s unravelling centre stage. Suddenly, thriller blasted through the speakers and the actors began the iconic dance’s starting moves. Drawing on the idea of the ‘jig’ which accompanied the end of Shakespeare productions in the Jacobean era, the catharsis of the dance was a delightful end to the performance.
The next showcase was of Hamlet, arguably Shakespeare’s most famous tragedy. Smoke obscured the stage, the voice of the late King Hamlet boomed through the speakers from different sides of the theatre to provide an immersive experience. Hamlet’s soliloquies were approached in an innovative way; the group of actors represented the conflict of his inner psyche by dividing up the lines of his dialogue between them. Although effective, I wondered if some fluidity of character was lost as a result. On the other hand, Claudius’ performance, acted by Freya Randall, was terrific in portraying his sly and buffoonish character. He was a clear favourite of the audience too.
After the break, we were invited to a southern rendition of As You Like It. Cowboy hats, denim and fringe injected a playful nuance to the performance. A heartfelt bond was compellingly depicted between Rosalind and Cassidy, played by Celia Kelly and Madeline Nash, and the showcasing of the duel between Charles and Oliver, played by Adam Hilmi and Weezie Greenacre, provided entertainment with the use of mini guns. However, the performance was less entrancing than its predecessors as its theatrical elements were overpowered by the comedy. Perhaps I am influenced by a partiality to Shakespeare’s tragedies, but it failed in my opinion to grip the audience entirely.
The showcase concluded with a performance of Twelfth Night. The standout performance of this production, and arguably the entire night was Malvolio, played by Mim Clements. The blend of humour and passion injected into his character was exciting to watch. His interactions with Olivia, Eliza Densham, were particularly comedic in the scene where he brandishes her with his yellow stockings. I also enjoyed Cesario’s meta-fictional engagement with the audience during Olivia’s pursuit of ‘him’. However, I would argue that Malvolio’s performance is what carried the production.
Overall, the persuasive mix of tragedy, comedy and innovative student theatre makes this event not one to miss. I’d have to agree with the society’s remark that ‘hot people come to watch Shakespeare’.