Shakespeare in Love
I love a bit of silly. This show had it in spades! I find myself leaning into whimsy more and more as a welcome escape from the serious issues our world faces. Shakespeare in Love presented at New Theatre in Newtown did tickle my sense of humour. The theatre itself gives me hope- and whenever I see a play there, I am grateful it is running and continuing to present works and seasons, as so many theatres continue to close in Sydney.
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From the moment the show begins, Shakespeare in Love sets the tone for a boisterous, playful take on the world of Elizabethan theatre. With clever humour, heartfelt performances, and small pockets of giggles, the production is an enjoyable romp, even if it occasionally stumbles in its execution.
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Photo © Chris Lundie​
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The comedic elements shine brightly, with the audience laughing out loud at the sharp wit and physical humour sprinkled throughout. The cast delivers their lines with palpable energy, and there’s an undeniable charm to their collective performance. Standout performances include Raechyl French as Kit Marlowe, whose sharp comic timing and grounding presence added depth to the character. Kim Clifton, as Viola de Lesseps, portrayed the character with a tender, sentimental touch that resonated deeply with the audience. Meanwhile, Lynn Roise delighted as the Nurse, bringing infectious humour to the role before seamlessly shifting into the commanding persona of Queen Elizabeth.
A highlight of the production was Charlotte Edwards as John Webster, whose melodramatic physical comedy and over-the-top antics consistently had the audience in stitches.
The gender-blind casting added a refreshing queer subtext to the production, enhancing the narrative’s exploration of identity and theatrical constraints during Shakespeare’s time. This choice also played beautifully into the themes of love and creative liberty which were central to the story.
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The production features some truly delightful visual gags, such as a flat cutout of waves being rolled under a 2D boat to mimic the sea and a hilariously lifeless model prop of a dog on wheels—both standout moments that showcased the production’s ingenuity and humour. The set design, created by Rachel Scane, had versatility, particularly in its ability to depict both sides of the “performance at the Globe,” drawing the audience deeper into the theatrical world.
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The production isn’t without its quirks. The dance breaks, choreographed by Phaedra Brown, were entertaining and cheeky but often felt out of place, adding spectacle rather than narrative value- perhaps that was the point, as often in Shakespeare’s plays, a song appears seemingly out of nowhere- however it felt as if the cast were out of step at times. Paris Jade Burrows’ costume design, though fun, lacked thematic cohesion, with some outfits feeling mismatched or hastily assembled.
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While the set demonstrated thought and innovation, scene changes were occasionally lengthy, disrupting the momentum of the performance. Additionally, Matthew Forbes’ sound design, though interesting, sometimes overpowered the actors’ lines, creating moments of disconnect between the audience and the story.
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Despite it all, Shakespeare in Love succeeds in capturing the chaos, passion, and joy of the theatrical world it depicts. With moments of clever humour, heartfelt performances, enthusiastic actors, and inventive staging, this production celebrates the magic of storytelling and the enduring allure of love.
A charmingly chaotic blend of love, laughter, and theatrical creativity that will leave audiences smiling and shaking their heads at the silly!
Shakespeare in Love is at New Theatre until December 14th.
