There is nothing mere about the players on this stage upon a stage, but in this tale of false identity, a forest, and falling in love Zahra Newman steals the show as Rosalind, terse in the face of accusations of treason, and a joy watch developing a knowledge of her own power with freedom.
Rosalind and Jaques seem to be in cahoots confined to spaces of the page and stage, compressing their grander comprehension of this mess into a few knowing winks and nods. In a long coat and unkempt suit, forever taking notes, Jaques appears as some breed of writer – perhaps even pushing about this very gaggle with his pen? Such a reading befits John Bell’s last role with the company he founded nicely.
Musical numbers – smoky, jazzy renditions sung by Abi Tucker – fill scene transitions and plot partitions nicely, though a swinging rock’n’roll bit proves an odd choice to close the show with. But no return to court gives us more time in Michael Hankin’s forest, ropes rigged to melody and flowers fixed falling down them like atoms – this Arden captures the ludic philosophical spacelessness of Peter Evans’ staging.
Drama Theatre, Sydney Opera House to 28 Mar
