Ex­hi­bi­tion

The Weekend Australian - Review - - Out & About - John McCal­lum

Kate Mul­vany’s Richard (pic­tured) is fas­ci­nat­ing in Bell Shake­speare’s lat­est pro­duc­tion. She brings a new per­spec­tive to this great vil­lain, not be­cause she is a woman (she plays the role as a man) but be­cause of the level of hu­man­ity that she al­lows to emerge, grad­u­ally at first, as Glouces­ter wades through blood and per­fidy to be­come King Richard. Her Richard’s body is twisted, but it is also much smaller than that of any other char­ac­ter on stage, which in cer­tain mo­ments lends a vul­ner­a­bil­ity. Some­times he seems like a vi­cious child, will­ing to do any­thing to get what he with Mul­vany as dra­maturge, em­pha­sises the fact that Glouces­ter could not have be­come king were it not for the al­ready ex­ist­ing machi­na­tions and shift­ing al­liances of the court. Ma­nip­u­la­tive seiz­ers of power don’t emerge out of a vac­uum, nor out of a world in which the rule of law is re­spected. Syd­ney Opera House, Ben­ne­long Point, Syd­ney. To­day, 2pm 7.30pm. Tick­ets: $50-$92. Book­ings: (02) 9250 7111 or on­line. Un­til April 1. Mar­garet Ol­ley: Pain­ter, Peer, Men­tor, Muse A sense of so­cia­bil­ity, of

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