Theatre: Enoch Arden (★★★★)

By Alfred, Lord Tennyson
Music by Richard Strauss
Performed by John Bell and Simon Tedeschi
His Majesty’s Theatre
June 14, 2017

It’s an auspicious gathering, a hundred and fifty-three years in the making. The master Victorian poet (Tennyson), the powerful, romantic composer (Richard Strauss), the grand old actor (John Bell) and the gifted accompanist (Simon Tedeschi), together in a magnificent Edwardian theatre.
Enoch Arden is a curiosity, and delivered, as it is here, with uncompromising fealty to its provenance, an anachronism.
But such is the charm and quality of its material, and such is the clarity and prudence of its performance, we’ve no reason to care.

Theatre: Henry 4

By William Shakespeare

Adapted by John Bell

Bell Shakespeare

Director John Bell and Damien Ryan

Designer Stephen Curtis

Lighting designer Matt Scott

Composer Kelly Ryall

Featuring David Whitney, Matthew Moore, John Bell, Terry Bader, Jason Klarwein, Ben Wood, Nathan Lovejoy, Yalin Ozucelik, Felix Jozeps, Sean O’Shea, Arky Michael, Tony Llewellyn-Jones, Wendy Strehlow and Matilda Ridgeway

Heath Ledger Theatre, State Theatre Centre

Until April 13

Matthew Moore

It was a sad surprise to find, from conversations around the Heath Ledger foyer, that Shakespeare’s Henry IVs have become obscure.

In its time, Henry IV Part One was a runaway hit, its first part spawning three sequels, one, Henry V, for its putative hero, Prince Hal, and two, Henry IV Part Two and The Merry Wives of Windsor, for its genius, Falstaff. Such was the enthusiasm for Falstaff that Elizabethan audiences traditionally booed the hero king on his first entry in Henry V for having banished their favourite.

Shakespeare, too, had to banish Falstaff from Henry V, because the Fat Knight was bound to steal that show as surely as he had both its predecessors.

And, true to form, John Bell’s Falstaff sidles away with this merged adaptation of the two Henry IV’s tucked securely in his capacious pickpocket’s breeches.

Link here to the complete review in The West Australian.