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The
Wars of the Roses stage play.
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The
Wars of the Roses
William
Shakespeare
Bell Shakespeare Company
WHEN you think of a Shakespearian play, most conjure up memories
of high school productions, period costumes and long and flowery
speeches in an outdated and hard to understand language.
Director John Bell’s Bell Shakespeare Company is in its
15th year of changing that preconception by taking a modern
approach to Shakespeare’s plays – to the appeal
of young audiences – as he returns the joy of Shakespeare
to the masses.
In his latest blockbuster, The Wars of the Roses, Bell takes
Shakespeare’s Henry VI trilogy of power struggles and
betrayal and condenses them into a rollicking and uncompromising
four-hour production that is distilled into two parts, Harry
VI and Edward 1V.
For the non-Shakespearian scholars (such as myself), I’d
recommend arriving 15 minutes early, buying a program and
getting a quick heads-up on what the play is about, because
although it is a modern interpretation, Bell has maintained
the integrity of the Shakespearian language. Also, true to
Shakespeare, if you stop concentrating you can lose track
of what’s happening and end up guessing.
The synopsis is England is in turmoil after the death of its
inspirational leader and France again challenges the county
in war. Amid this turmoil, deceptive and ambitious forces
plot together and against each other, employing all manner
of underhanded tactics to take England’s throne.
Several political parallels can be drawn from The Wars of
the Roses, which adds to its entertaining mix of comedy. Its
eclectic modern-style costumes, that include a myriad of sporting
and military equipment, lend a tribal feel to well-choreographed
fight scenes.
There are some brilliant performances, with Blazey Best demanding
attention as the vivacious and fiery Margaret and Greg Stone
is fabulous as York and Rivers, as is Richard Piper as Warwick
and Robert Alexander as Exeter. Many of the 16 performers
take on multiple roles and at my count, Georgia Adamson took
out the title of being killed the most amount of times during
the play.
But undoubtedly my favourite was Darren Gilshenan who, among
three roles, played Richard, Duke of Gloucester. His portrayal
of the man as twisted and depraved in mind as he is in body
is worth every cent of the price of admission, and his version
of the “winter of our discontent” is a truly unexpected
ending.
–
CPL Damian Shovell
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