Olivia, Viola, Malvolio. Oh my!

Lots of people have an opinion on Shakespeare. Mostly what they think is fairly non-complimentary (unlike bar nuts. They're complimentary), lots of "I never like all that Shakespeare mumbo-jumbo" or the irony of "it's all Greek to me." And then there are those who think that all we should teach the kiddies is Shakespeare because it is a 'classic' and therefore worthy of the classroom. (Thank you Miranda Divine. I kinda hate you too, just so you know.)

Teaching The Bard is challenging, and interesting, and difficult, and fun. Getting a bunch of Year 9 kids to read a scene from R&J and go "ah, I get it!" is joyous. Having the ratbags of Year 10 perform a scene from Macbeth in original language, but the context of surfer gangs a la Bra Boys is elating. Having Year 8 guys say "Miss, that sounds dirty" about Kat and Petruccio's Sting conversation, and assuring them that indeed they are interpreting it correctly - in the dirtiest way possible. (Funny thing is, the new Child Protection Policy, Keep Them Safe explicitly states we are not supposed to speak to students using double entendres or sexual innuendo. How is it POSSIBLE to teach Shakespeare without these, my favourite features of the English language?)

Every English Teacher and Shakespeare fan has a different favourite. Some like the tragedies, with the blood and guts and gore and raped women with no hands and no tongue. Some like the comedies that aren't funny at all, they're just called comedies because not everyone is dead at the end. One my colleagues likes Henry V  for the epic speeches. Another likes R&J for the epic love story.

And my favourite is Twelfth Night.

It has all the usual golden moments of mistaken identity and twisted genders, disguises and deceptions, suspension of disbelief as small crowds stand directly behind someone, unseen and unheard. Shafts of double entendres (can we make 'shafts' the official collective noun for double entendres? any other suggestions?). A slightly unrealistic storyline, based on shipwrecks and true love. And a subplot about punishing the puritanic do-gooder for being a party pooper.

One of the drawbacks about living in West Bubblefuck, as I have bemoaned before, is the general wasteland of culture that we have. Our cinema is almost strictly a diet of blockbusters and romcoms. Previous to this year, the theatre scene has really only consisted of the local musical and dramatic societies murdering the scripts of modern classics. But since the opening of our very own theatre, the wasteland is beginning to look a little more colourful.

And one of the blooming cactus flowers was the touring production this, my favourite Shakers play, done by none other than Bell, Australia's most fabulous Shakespeare company. I saw the show last night, and LOVED it.

Bell always does wonderous things with context and modernisation. Created as a play, within a play, it is set within the context of Black Saturday. They have incorporated modern songs, sung a Capella or accompanied by acoustic guitar. Performed around an enormous pyramid of donated clothing, in which they find all the required props and costumes to create the story, and distract them from the devastation and loss and grief that has burnt through their lives.

As usual, they have imaginative dramatic devices to get around doubling-up actors (little bit of mime, little bit of half-worn costume... and a bell) and quick escapes by helicopter (tiny little model on a fly, dressed in miniature costume). The greatest uses of boxes since my brother and I made our baby brother a bat cave for Christmas out of a fridge box, used as disguises, as armour, as a gaol...

With a star turn from the very delightful and hysterical Ben Wood (last scene camping it up as a butch Emcee in NUTS production of Cabaret... OK, he has done other stuff since, but that was the last time I saw him on stage), I was privileged to have seen this production. If it comes near you (and it is pretty much going EVERYWHERE), you should go see for sure!

NB/ How can this be the FIRST post I have made about theatre? When I have been such an addict to the stage for such a long time? Evidence of the cultural wasteland, I suppose...