Latest news with #Shakespearian
Sydney Morning Herald
3 days ago
- Entertainment
- Sydney Morning Herald
Audiences stayed away from this Hamlet. But then word got out ...
It all began with a staff meeting. For years, Teatro La Plaza director Chela De Ferrari had been mulling a production of Hamlet but had no luck finding an actor to anchor it. Then, during a meeting, theatre usher Jaime Cruz announced his desire to act, and something sparked for De Ferrari. She invited him for coffee. 'During that conversation, I suddenly saw him wearing the prince's crown,' she says. 'I imagined those iconic words, 'To be or not to be', spoken by someone whose very right to be in public, artistic, and professional spaces is so often questioned. It changed everything. 'What if this role wasn't meant to be held by one iconic actor, but rather to be shared — to become a collective voice?' Cruz, like almost every actor in Peruvian theatre company Teatro La Plaza's Hamlet, has Down syndrome. He is Hamlet, but so are all the other seven actors at various stages of the play. Through a year-long workshop and performances around the globe, the production, which comes to Melbourne's Rising festival next month, has become much more than a Shakespearian adaption. Performed in Spanish with English subtitles, it showcases the talents and dreams of its cast, using their experiences to shape the content of the play. 'Unlike a traditional casting process, we weren't searching for polished performances or technical precision,' De Ferrari says. 'Quite the opposite. We deliberately embraced traits that would usually be seen as obstacles in conventional theatre: difficulty vocalising, stuttering, extended silences, blank moments or shifts in rhythm.' She explains that the production wasn't looking to 'fix' these traits, but rather incorporate them into the script and the action. De Ferrari was careful to ensure that the company understood the 'nature and intention' of the play on which they were all collaborating. 'If participants were unable to grasp the creative and conceptual framework of the production, the process could have veered into representation without agency,' she says. 'Our goal was not simply to include neurodiverse actors, but to co-create a piece of theatre in which their perspectives, experiences and choices held real authorship.' At one point, three Ophelias share the stage, and their dreams. One wants to live independently, work, and buy her parents dinner with her very own credit card. Another wants to meet a boy online and then go to Mars with him, and the third wants to have eight children with her boyfriend and watch them grow up to become Hamlet. 'For a moment, they weren't just interpreting a character — they were reshaping her, infusing her with their own voices,' De Ferrari says. Hamlet himself also has many forms, and the production twists and turns and moves and entertains in endlessly surprising ways. Audiences are told that the production is 'inclusive' and there's no mandate to be quiet, or stay seated, or not look at your phone. At New York's Lincoln Centre, there was even a chill-out zone in case the Bard became too much. De Ferrari says while some audience members used to more traditional theatre might baulk initially, they usually come around. '[The inclusive performance] creates a kind of mirror. The freedom that exists on stage is reflected in the audience, and vice versa. We're not just performing a play – we're sharing a space where different ways of being are fully welcomed. That mutual recognition is one of the most powerful aspects of the experience.' Towards the end of the play, there is a beautiful moment of audience participation that powerfully illustrates the way this cast has worked to subvert expectations and ideas about Down syndrome. It is one of those special experiences that good theatre is all about, creating connection, empathy and understanding of lives and emotions the audience might not otherwise be able to access. 'The result is often hilarious — but also moving,' De Ferrari says. 'The audience laughs, relaxes, learns. They're being gently invited to let go of control and see the world through someone else's eyes. What began as a comic interaction ends up offering a reflection on who usually gets to be in the spotlight — and who is asked to stand still and stay quiet.' Video, live music, pre-recorded sound, projection, choreography and audience interaction are all seamlessly incorporated by the cast, who work together and on their own to command the stage with true authority and talent. Throughout, Shakespeare's words and plot are merged with the words, hopes and dreams of the cast. This Hamlet is less a tragedy and more a tale of rebirth. To assemble this cast and tell this story is a masterful feat, one that De Ferrari says took a full year of 'improvisation, writing and reflecting'. Loading 'Each actor specialised in one character, studying and embodying them through drawings, songs and personal memories. From there, we shaped the script. I would write drafts at home and bring them into rehearsal, where we'd test them and refine them together,' she says. That process allowed for every voice to be heard. De Ferrari says early audiences weren't sure what to make of the show when it debuted in Lima, Peru, in 2019. 'Some people told us they celebrated the fact that we were doing this play ... but didn't feel comfortable attending. Ticket sales were slow. But by the third week, the theatre was full thanks in part to the community of families, parents and organisations who truly understood the significance of the project but also because of word of mouth. Every person who saw the play left the theatre recommending it with energy and enthusiasm.' Since then, Hamlet has toured Europe, Asia, North and South America and the United Kingdom. Melbourne is next. 'Bringing Hamlet to Melbourne as part of Rising is a profound honour for us,' De Ferrari says. 'We are also thrilled to explore Melbourne itself – a city celebrated for its rich arts scene, and diverse culinary offerings ... as Peruvians, we are always interested in discovering new culinary experiences.' In the meantime, De Ferrari and her cast are also adapting Twelfth Night, using the same process. 'We want to explore love in all its forms, as well as the complexity of sibling relationships – especially when one sibling has a disability and the other does not. In our story, one of the twins has Down syndrome, and the other is neurotypical.' Loading De Ferrari says the goal with both productions is to reimagine Shakespeare and use those well-known narratives as a springboard for new ones.
The Age
3 days ago
- Entertainment
- The Age
Audiences stayed away from this Hamlet. But then word got out ...
It all began with a staff meeting. For years, Teatro La Plaza director Chela De Ferrari had been mulling a production of Hamlet but had no luck finding an actor to anchor it. Then, during a meeting, theatre usher Jaime Cruz announced his desire to act, and something sparked for De Ferrari. She invited him for coffee. 'During that conversation, I suddenly saw him wearing the prince's crown,' she says. 'I imagined those iconic words, 'To be or not to be', spoken by someone whose very right to be in public, artistic, and professional spaces is so often questioned. It changed everything. 'What if this role wasn't meant to be held by one iconic actor, but rather to be shared — to become a collective voice?' Cruz, like almost every actor in Peruvian theatre company Teatro La Plaza's Hamlet, has Down syndrome. He is Hamlet, but so are all the other seven actors at various stages of the play. Through a year-long workshop and performances around the globe, the production, which comes to Melbourne's Rising festival next month, has become much more than a Shakespearian adaption. Performed in Spanish with English subtitles, it showcases the talents and dreams of its cast, using their experiences to shape the content of the play. 'Unlike a traditional casting process, we weren't searching for polished performances or technical precision,' De Ferrari says. 'Quite the opposite. We deliberately embraced traits that would usually be seen as obstacles in conventional theatre: difficulty vocalising, stuttering, extended silences, blank moments or shifts in rhythm.' She explains that the production wasn't looking to 'fix' these traits, but rather incorporate them into the script and the action. De Ferrari was careful to ensure that the company understood the 'nature and intention' of the play on which they were all collaborating. 'If participants were unable to grasp the creative and conceptual framework of the production, the process could have veered into representation without agency,' she says. 'Our goal was not simply to include neurodiverse actors, but to co-create a piece of theatre in which their perspectives, experiences and choices held real authorship.' At one point, three Ophelias share the stage, and their dreams. One wants to live independently, work, and buy her parents dinner with her very own credit card. Another wants to meet a boy online and then go to Mars with him, and the third wants to have eight children with her boyfriend and watch them grow up to become Hamlet. 'For a moment, they weren't just interpreting a character — they were reshaping her, infusing her with their own voices,' De Ferrari says. Hamlet himself also has many forms, and the production twists and turns and moves and entertains in endlessly surprising ways. Audiences are told that the production is 'inclusive' and there's no mandate to be quiet, or stay seated, or not look at your phone. At New York's Lincoln Centre, there was even a chill-out zone in case the Bard became too much. De Ferrari says while some audience members used to more traditional theatre might baulk initially, they usually come around. '[The inclusive performance] creates a kind of mirror. The freedom that exists on stage is reflected in the audience, and vice versa. We're not just performing a play – we're sharing a space where different ways of being are fully welcomed. That mutual recognition is one of the most powerful aspects of the experience.' Towards the end of the play, there is a beautiful moment of audience participation that powerfully illustrates the way this cast has worked to subvert expectations and ideas about Down syndrome. It is one of those special experiences that good theatre is all about, creating connection, empathy and understanding of lives and emotions the audience might not otherwise be able to access. 'The result is often hilarious — but also moving,' De Ferrari says. 'The audience laughs, relaxes, learns. They're being gently invited to let go of control and see the world through someone else's eyes. What began as a comic interaction ends up offering a reflection on who usually gets to be in the spotlight — and who is asked to stand still and stay quiet.' Video, live music, pre-recorded sound, projection, choreography and audience interaction are all seamlessly incorporated by the cast, who work together and on their own to command the stage with true authority and talent. Throughout, Shakespeare's words and plot are merged with the words, hopes and dreams of the cast. This Hamlet is less a tragedy and more a tale of rebirth. To assemble this cast and tell this story is a masterful feat, one that De Ferrari says took a full year of 'improvisation, writing and reflecting'. Loading 'Each actor specialised in one character, studying and embodying them through drawings, songs and personal memories. From there, we shaped the script. I would write drafts at home and bring them into rehearsal, where we'd test them and refine them together,' she says. That process allowed for every voice to be heard. De Ferrari says early audiences weren't sure what to make of the show when it debuted in Lima, Peru, in 2019. 'Some people told us they celebrated the fact that we were doing this play ... but didn't feel comfortable attending. Ticket sales were slow. But by the third week, the theatre was full thanks in part to the community of families, parents and organisations who truly understood the significance of the project but also because of word of mouth. Every person who saw the play left the theatre recommending it with energy and enthusiasm.' Since then, Hamlet has toured Europe, Asia, North and South America and the United Kingdom. Melbourne is next. 'Bringing Hamlet to Melbourne as part of Rising is a profound honour for us,' De Ferrari says. 'We are also thrilled to explore Melbourne itself – a city celebrated for its rich arts scene, and diverse culinary offerings ... as Peruvians, we are always interested in discovering new culinary experiences.' In the meantime, De Ferrari and her cast are also adapting Twelfth Night, using the same process. 'We want to explore love in all its forms, as well as the complexity of sibling relationships – especially when one sibling has a disability and the other does not. In our story, one of the twins has Down syndrome, and the other is neurotypical.' Loading De Ferrari says the goal with both productions is to reimagine Shakespeare and use those well-known narratives as a springboard for new ones.
The Age
20-05-2025
- Entertainment
- The Age
Prepare to be discombobulated by this bonkers crime caper
CRIME The Empress Murders Toby Schmitz Allen and Unwin, $32.99 Brilliant, bonkers and bloody - The Empress Murders is what you get when you let a mischievous thespian schooled in Shakespeare, Dylan Thomas, and Agatha Christie loose on the crime genre. This is a tragicomic, ambitiously wordy, and wild excursion into the territory of the traditional locked-room mystery, set on a ship with a serial killer on the loose. It begins with a Shakespearian prologue, although it's not called that, spoken by the ship herself who affectionately recalls her origins as a leaf in a puddle, through her many subsequent incarnations as a sea-faring vessel, and culminating in her current manifestation as The Empress of Australia, a luxury ocean liner and 'a cast-iron idea'. She's now 'churning the Atlantic run' in 1925 on the way to New York with a full manifest of passengers and one corpse. The scene is set. It comes as no surprise to learn that this outlandish excursion into the crime genre started out as a play 20 years ago and has been a long time in gestation. There are numerous quasi-theatrical moments as we encounter the diverse passengers and crew, although there are also interior reflections and backstories that could only exist in this kind of capacious, meandering crime novel. It begins on C Deck with the handsome, somewhat threadbare, Mr Frey from Australia. He's survived the Second World War after his mother signed him up the day he finished school, spent time in Weimar Berlin and now fancies himself as a Dadaist poet, slipping words around 'like mahjong tiles'. And he's just been invited into the first-class lounge for dinner, so up we go. While Agatha Christie usually assembled her suspects in the library for the big reveal at the end, Schmitz summons his ensemble at the start, under the watchful eye of Chief Steward Rowling who is not feeling well and will undoubtably feel worse. An announcement is about to be made by the ship's dismal detective, Inspector Daniels, that a young Bengali deckhand has been murdered in the night, his body mutilated. Be prepared - like all the best Jacobean tragedies, there's going to be a lot of gore. Indeed, there are moments when the elaborate crime-drama edifice morphs into slasher horror. Like all the best shockers, these moments are laugh-out-loud, discombobulating in their bloody excess. But don't worry, the Empress reassures the reader, while we might be in for a rough crossing, 'I've got you'. And so she has, along with all the onboard intrigues that range from a memorable mobster in full white tie and tails, 'his lubricious curls tamed as best he can', who travelled to London with one suitcase and is headed back to the US with 'considerably more freight'. Chief Steward Rowling has his number.
Sydney Morning Herald
20-05-2025
- Entertainment
- Sydney Morning Herald
Prepare to be discombobulated by this bonkers crime caper
CRIME The Empress Murders Toby Schmitz Allen and Unwin, $32.99 Brilliant, bonkers and bloody - The Empress Murders is what you get when you let a mischievous thespian schooled in Shakespeare, Dylan Thomas, and Agatha Christie loose on the crime genre. This is a tragicomic, ambitiously wordy, and wild excursion into the territory of the traditional locked-room mystery, set on a ship with a serial killer on the loose. It begins with a Shakespearian prologue, although it's not called that, spoken by the ship herself who affectionately recalls her origins as a leaf in a puddle, through her many subsequent incarnations as a sea-faring vessel, and culminating in her current manifestation as The Empress of Australia, a luxury ocean liner and 'a cast-iron idea'. She's now 'churning the Atlantic run' in 1925 on the way to New York with a full manifest of passengers and one corpse. The scene is set. It comes as no surprise to learn that this outlandish excursion into the crime genre started out as a play 20 years ago and has been a long time in gestation. There are numerous quasi-theatrical moments as we encounter the diverse passengers and crew, although there are also interior reflections and backstories that could only exist in this kind of capacious, meandering crime novel. It begins on C Deck with the handsome, somewhat threadbare, Mr Frey from Australia. He's survived the Second World War after his mother signed him up the day he finished school, spent time in Weimar Berlin and now fancies himself as a Dadaist poet, slipping words around 'like mahjong tiles'. And he's just been invited into the first-class lounge for dinner, so up we go. While Agatha Christie usually assembled her suspects in the library for the big reveal at the end, Schmitz summons his ensemble at the start, under the watchful eye of Chief Steward Rowling who is not feeling well and will undoubtably feel worse. An announcement is about to be made by the ship's dismal detective, Inspector Daniels, that a young Bengali deckhand has been murdered in the night, his body mutilated. Be prepared - like all the best Jacobean tragedies, there's going to be a lot of gore. Indeed, there are moments when the elaborate crime-drama edifice morphs into slasher horror. Like all the best shockers, these moments are laugh-out-loud, discombobulating in their bloody excess. But don't worry, the Empress reassures the reader, while we might be in for a rough crossing, 'I've got you'. And so she has, along with all the onboard intrigues that range from a memorable mobster in full white tie and tails, 'his lubricious curls tamed as best he can', who travelled to London with one suitcase and is headed back to the US with 'considerably more freight'. Chief Steward Rowling has his number.
Newsweek
19-05-2025
- Politics
- Newsweek
The 1600: Hard Questions
The Insider's Track Good morning, I told myself, and some of you, that I would steer clear of talking about Joe Biden from now on unless news warranted. Well, the news is warranting. The former president's office announced in a statement Sunday that he had been diagnosed with an "aggressive" form of prostate cancer that had spread to the bone. An awful development in what is already something of a Shakespearian tragedy, and Biden deserves our prayers and best wishes. Even if you didn't vote for or care for the man, he was our leader for four years. Needless to say, a diagnosis like this for any 82-year-old is bad, and I just hope his people provide him the care and comfort he needs. That said, if you believe Joe Biden just found out he had cancer I admire your naïveté. My B.S. detector is tuned like a Swiss watch these days having to cover everything coming out of the Trump administration, and let's just say it went off like a siren when this news came down yesterday afternoon. I am not an oncologist, but I know that prostate cancer tends to be one of the slower ones to develop. And it doesn't just spread into the bone all of a sudden. So let's read between the lines and see what's more likely to be closer to the truth: 1. Biden was diagnosed with a less aggressive—but still serious—form of prostate cancer sometime during his presidency, but Jill and others conspired to keep it from the public. This would explain that clip from 2022 going around, when he let slip that he had cancer but everyone just assumed it was one of his gaffes. 2. Biden's White House doctors somehow did not regularly screen him for various cancers, despite his age and having had a son who recently died of brain cancer. Last year, his physician reported the president as a "healthy, active, robust 81-year-old" with no new health concerns who "continues to be fit for duty." So that was either a blatant lie or the result of the kind of staggering incompetence you'd see from the quack doctor on The Simpsons. Sorry, but you don't just "miss" cancer like that in a sitting president. 3. Biden was completely fine as of January 19 but has been diagnosed with a cancer that has since metastasized to his bones in the last four months since leaving office. This one does not pass the smell test either. It seems highly likely that some version of 1 was at play here. We know, based on the reporting in these new books,the Hur audio, as well as our own eyes, that Biden's inner circle have never been afraid to lie to the public about his decline, both physical and mental. So while the former prez should be shown grace and empathy at this moment, those around him have not earned the same. What all of this suggests is that it is entirely possible—even probable—that this time last year, in those weeks before the debate, the plan from the White House was that Biden was going to run for reelection, hopefully win, and then serve another full term—as an octogenarian cancer patient. Plan B being that if he passed in office, Kamala Harris would just take over. If this turns out to be the case, I'm sorry if I'm skeptical that American voters will ever again take seriously Democrats' warnings about Republicans being the anti-democracy party. The Rundown In May 1988, Republican President Ronald Reagan spoke from the Oval Office in an address not targeted at the American people, but the citizens of Western Europe. The president was planning a trip to meet with Soviet Union General Secretary Mikhail Gorbachev and wanted to make his commitment to Europe clear. Thirty years later, in July 2018, while sitting for an interview at his Turnberry golf resort in Scotland, Republican President Donald Trump was asked to name America's top global foe. "Well, I think we have a lot of foes... I think the European Union is a foe, what they do to us in trade," he said. The comments reflected a decaying relationship between Europe and the GOP that has largely worsened in the years since. Read the full story. Also happening: Biden speaks out: Former President Joe Biden responded to well-wishers early Monday following the announcement that he had been diagnosed with an "aggressive form" of prostate cancer with metastasis to the bone. "Cancer touches us all. Like so many of you, Jill and I have learned that we are strongest in the broken places. Thank you for lifting us up with love and support," Biden wrote in part. Read more. Former President Joe Biden responded to well-wishers early Monday following the announcement that he had been diagnosed with an "aggressive form" of prostate cancer with metastasis to the bone. "Cancer touches us all. Like so many of you, Jill and I have learned that we are strongest in the broken places. Thank you for lifting us up with love and support," Biden wrote in part. Read more. Exclusive: Rep. Al Green of Texas, a Democrat, has spoken with Newsweek about why he introduced articles of impeachment against President Donald Trump this week, saying he felt the need to act now before "tanks are rolling down the street," with plans to introduce further articles at a later date. Read the story. This is a preview of The 1600—Tap here to get this newsletter delivered straight to your inbox.
