RICHARD III University of Adelaide Theatre Guild The Little Theatre Until 17 Aug 2013 Review by Anthony Vawser Think that Shakespeare is too wordy, too dusty, too mouldy to be worth sitting through…? Think again!Reckon you’ve got an allergy to historical drama…? Prepare yourself to be cured. The UATG’s staging of ‘Richard III’ is a thrilling triumph! William Shakespeare’s canon of tragedy, comedy and history has endured on stages around the world for centuries, and with good cause. Rich characterisation, poetic language, timeless themes; these are just a few of the many reasons for the longevity of the art of Mr S. The challenges inherent in adapting these works for the tastes of today’s audiences are also many, and particularly so with a play as long and complex as the one that the Theatre Guild has decided to tackle. This reviewer must confess that ‘Richard’ was not a text that he was intimately familiar with, as opposed to high-school and uni assignments/performances such as ‘Macbeth’, ‘Midsummer’, ‘R&J’, ‘Tempest’, ‘Twelfth Night’, ‘Much Ado’, ‘Merchant’ – or even personal weirdo-cult fave pick ‘Titus’. The fact that the play is heavily populated with characters who all form part of a political/historical web of intrigue, with a ruthless, scheming, hissable anti-hero at the centre of it all, were factors that threatened to make the experience a daunting one from the outset, especially for a newbie. Gratifyingly, almost every decision taken in the approach to bring this story to the stage of the Little Theatre was the right decision. Instead of slackening the pace in order for slow-coaches to keep up, or giving us a stuffy and stately Shakespeare pageant, director Megan Dansie has cooked up a rollicking thriller, one that continues to grow deeper and more satisfying as it proceeds. At times, those not accustomed to the style of language used may find the words swimming around in a haze – but when clearly enunciated out of the mouths of the formidable cast Dansie has assembled, it’s a most invigorating and pleasurable haze indeed. Even the very occasional opening-night stumble only managed to highlight the generally magnificent job that was being made of those challenging, beautiful lines. Crucially, even if the finer details of the twisty plot occasionally get lost for you, the emotional grip of the piece never loosens once it takes hold. Through the strength and vigour of the staging, the confident mastery of the performers, as well as the pruning of the text to a manageable length, this ‘Richard III’ communicates to a modern audience in all the ways that matter. The shrewd decision to perform predominantly in understated modern dress, including contemporary army camouflage during Act 2’s battle scenes, goes some way toward achieving this, as does the ingenious use of TV screens. Ultimately, all the clever sets, clothes and props would mean little if you don’t care about the characters or what they are going through – and this cast makes you care. Bart Csorba, in the title role, delivers the kind of commanding, involving portrayal that this production deserves, and which leaves one immensely proud of the standard of performance in so-called ‘amateur’ Adelaide theatre. In such a consistently impressive ensemble, standouts include (but are not limited to) Steve Marvanek, whose pivotal scene inside a prison cell was an emotional highlight of Act One; Miriam Keane, lively and expressive playing the King’s councillor; Jamie Wright, alternately poignant and amusing in his dual role; and Rachel Burfield, whose portrayal of Queen Elizabeth is superbly controlled and achingly sad. The return of director Dansie and star Csorba, plus a number of key supporting players and creative personnel, to the Theatre Guild, after their bold and brilliant success with ‘The Pillowman’, promised great things from this new production – and great things have been delivered. Whether you’re a Shakespeare buff or merely a curious novice, you owe it to yourself to see this superb show! Jamie Wright is a reviewer for Adelaide Theatre Guide