Shakespeare goes Shorty Street

A darkened stage. A shout. A love embrace. It was all very Shakespearean, and it was all very Maidment Theatre. After watching the embrace and wondering what it was like to dance with your face under your lover’s t-shirt, I was serenaded with a cacophony of interpretative dance, raucous voices and imitated drunkenness. It was a nice introduction to a piece which, to my shame, I was simultaneously watching and adding to my literary education. It was also a show appreciated by the audience, who smelt of cologne and alcohol and consisted of many a face off Shortland Street.

For those that do not know the story, it is typically Shakespearean: it starts with a tale of passionately requited love that is forbidden, and ends with a death of the beloved that is a sorely regretted crime of passion. Somewhere in the middle there is a meddling swine that twists everything around, accompanied by many a party to get the festive juices flowing. It is a classical drama of ‘thees’ and ‘thous’, elaborately intensified through classical postures and trained artistic skill.

I must say, as an amateur Shakespearean follower, I did rather admire the way the cast brought the play into the present time and humour. Still true to form and word, they acted remarkably, but were not averse to a few drinking and cheating jokes. Not knowing the story, most happenings in the play were picked up at the start by cues of intonation and body language, upon which one could build the scene with the beauty of old-world language like an artistic trifle cake. It was all very fluid, duly dramatic, and only a little over the top but in the most apt and predictable fashion for a play of such an era.

Remarkable on the stage was lead Robbie Magasiva (Othello), whose anger was gradually built up to the point of bursting shockingly and consistently throughout the story. Otherwise, none were under par but of particular mention was Olivia Tennet (Amelia), whose supporting act showcased her ability to sing, play the violin, dance beautifully and act modest all at the same time. All the characters, it seemed, were truly developed by the last quarter; nevertheless, the whole bunch of them were quite beautiful gym bunnies who contributed in some way to the tale.

Packed to the rafters with much laughter, Maidment’s Othello was certainly a sturdy effort. I would find it hard to pick holes in the performance, and certain scenes were truly delightful (Othello’s discovery of his deception after Desdemona’s murder was particularly heart-wrenching). All in all, a rainy night at the Maidment appeared to rain on a few faces within the theatre, too, a sure indicator of success.

Maidment Theatre. Dir. Jesse Peach. Duration: 2 hours; starring Robbie Magasiva and Matt Minto