Sunday Telegraph
5 July 2009
Drumming up an inspired creation
Pericles: Shakespeare to a different beat
Bell Shakespeare’s collaboration with TaikOz, the Japanese-style taiko drumming ensemble, proves inspired in this beautiful production.
Forced to flee when he guesses the answer to a dangerous riddle, Pericles survives a shipwreck, wins the hand of a princess, then loses her in childbirth.
Later, their daughter Marina is abducted by pirates and sold to a brothel, but in the ultimate happy ending, Pericles has a daughter and a wife miraculously restored to him.
Directed by John Bell, the play’s storytelling is crystal clear and the energetic involvement of TaikOz, under music director Ian Cleworth, enhances the work’s exoticism.
As Pericles, Marcus Graham radiates presence and Andrea Demitriades is radiant as Marina.
he poetry in Pericles may not always soar, but this exquisite production certainly does.
Australian Stage
Vanessa Lahey
3 July 2009
Pericles – Bell Shakespeare
It is easy to see why John Bell is one of Australia’s most acclaimed theatre personalities and how he has been instrumental in shaping Australia’s theatre landscape. His latest production Pericles is testament of the man’s ability and the scope of his vision. From the opening to the finale of this, one of Shakespeare’s more spiritual plays, you are taken on a journey from despair to hope with a flamboyance and flavour never associated with Shakespeare before.
The story of Pericles as interpreted by the Bell Shakespeare company is a superstition-laden tragedy in its purest form. This story is a tale of woe for hero Pericles (Marcus Graham) and an illusory journey into the trials and tribulations of a man at the mercy of fate and the whims of the Gods. But, this particular Shakespeare incarnation offers a spicy twist that makes this production another unique masterpiece. Director John Bell has taken the opportunity in his version of Pericles to expand the limits of theatre well beyond tradition. Bell appears to call upon his years of virtuosity in theatre and superior knowledge of the form to embrace a new dimension, which is as subtle as it is profound. By choosing to collaborate with percussion sensation TaikOz you get the sense from the outset that this production is going to be different, and it is.
At first, it is hard to conceptualise how this merger between East and West will take place on stage in a classical theatre setting. Part of the allure for me is new perspectives in theatre, not just rolling out the classics as is expected of tradition. So coming to see a classical theatre production knowing that a percussive ensemble such as TaikOz (which is in itself a fusion of traditional Japanese music with an Australian translation) will be an element in the performance, makes seeing this version of Pericles all the more exciting.
As the curtain lifts in the opening scene exposing an oriental inspired stage, along with the thunderous beat of the TaikOz drumming, you can’t help but make an association with the ancient Japanese ‘Noh’ and ‘Kyogen’ theatre traditions. Immediately it becomes obvious that this production has been well thought out and researched in depth. The obvious Asian fusion that Bell has constructed is accentuated by the elaborate costumes that are in total harmony with the stage design created by the talented Julie Lynch. The costumes possess a structural design that is obviously inspired by Eastern tradition, such as the kimono worn by Dionyza (Julie Goss). But there is also a reverence to the Greek mythology embedded in the Pericles script that is not replaced but infused with this new theme.
From scene to scene we follow poor Pericles as he escapes death at the hands of a murderous King, gets shipwrecked, falls in love with Princess Thaisa (Lexi Freiman), becomes a father and a widower simultaneously and keeps moving forward toward his ultimate emancipation. Music Director Ian Cleworth creates an aural emotional complexity to equal the sentiment being acted out. By utilizing the musical skill of TaikOz’s Kevin Man, who plays solo Japanese flute throughout the dialogue, Cleworth is able to create a spectacular atmospheric effect. The interchange between the bamboo flute and the percussion group for the duration of the play creates the perfect soundtrack for this classical drama.
Pericles’ story is presented and led by narrator Gower (John Gaden) who is essentially the glue that binds the frenetic scenes together and provides continuity via the role of an exceptional storyteller. From this vantage point the audience is directly engaged with the plight of Pericles and a deeper relationship to the play is established. Gaden goes on to morph into several other characters all of which he adopts with absolute sincerity and total authority. As for Pericles himself, it can only be said of Graham’s performance that his acting was as magnanimous as the character he portrayed. From a layman’s point of view, theatre does more for Graham than television ever did. Supporting these two great actors is a cast that seemed destined for this play. The cast consists of a host of youthful actors with a freshness that breathes new life into theatre whilst presenting a collective talent that gives Bell Shakespeare its reputation.
This play is another remarkable work for the Bell Shakespeare company.
The Daily Telegraph
Alan Lalak
2 July 2009
Bell’s brilliant new beat
GLORIOUSLY colourful and with a simmering live score, Bell Shakespeare’s new production, Pericles, is like a well-made pad thai, infused with the spice of South-East Asia, flecked with chilli and doused with the freshness of lemon.
Under the firm hand of John Bell, this rarely performed play by Shakespeare has become an exciting, vibrant theatrical experience.
Pericles, the prince of Tyre (Marcus Graham), is exiled from his homeland and, after travelling by sea to different lands, is shipwrecked on the coast of Pentapolis, where he meets, falls in love with and marries the princess Thaisa (Lexi Freeman).
Tragedy strikes after Thaisa gives birth at sea as they are returning to Tyre and Pericles is separated from his wife and daughter Marina, who is then raised by a family and grows into a beautiful young lady (Andrea Demetriades).
Being a Shakespearean comedy, the darkness and tragedy of the earlier part of the play eventually gives way to felicity and improbably good fortune but Bell prevents it from feeling ridiculous.
All the performances are well grounded, with Graham giving the title role gravitas and warmth, the wonderful John Gaden playing the narrator with a cheeky sparkle of humour, and Demetriades sweetly determined as Marina.
The rest of the ensemble do a wonderful job of flipping between characters, with Darren Weller, particularly, standing out for his versatility across numerous roles.
Yet the performances are almost in danger of being overwhelmed by the two stand-out aspects of the production: the spectacular design and the thumping live music.
Julie Lynch’s set and costume design gorgeously evokes the sense of another world, complete with lavish silk gowns and sheer flowing curtains, and clever innovations with set pieces such as the timber half-boat that is turned upside down and spun around, allowing the action of the play to flow seamlessly.
The live music from TaikOz, led by artistic director Ian Cleworth, is a brilliant addition to the production due to both the wonderful soundtrack they produce and their boundless enthusiasm and charming energy.
From the rhythmic thumping of the larger drums that is so powerful it provokes goosebumps, to the gentle percussive background music throughout more intimate scenes which adds such depth and colour to the work, the occasional scenes without music seem oddly quiet.
Bell Shakespeare productions are consistently good and Pericles makes an even bigger splash than usual thanks to the large and enthusiastic cast of actors and musicians who band together under Bell’s direction.
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