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To begin with Much Adoe about Shakespeare is not the original title; it derives from Shakespeare’s original text Much Ado about Nothing. The purpose of this production (and the reason for the change in name) is the creation of a play that is accessible and introduces Shakespeare to younger audiences.  As a result, the play needs to be bright, fun and accessible; both visually, and through the language employed. This requires significant focus on the creation of set, costumes and scripting in order to be understood by a wider audience.

Scripting was the most important aspect of this process, as the choices made here significantly impact all other elements of the production. Besides the editing of the text down to about sixty minutes, important conversations between Shakespeare’s original characters focus on a verbal battle of the sexes, which is not as appropriate for younger audiences. As a result, the characters were changed into birds. This provides detailed movement for the actors to achieve, and a dilution of the ‘man/women’ language of the original text. This also creates a great platform for designing costumes too.

Costumes for birds required many feathers, but also a need to design a contrast of …

Twelfth Night is one of Shakespeare most well-known and loved comedies. The characters and plot highlight many of his established conventions, as well as providing quite humorous situations. Shakespeare’s comic conventions regularly focus on shipwreck, mistaken identity and females dressing up as males; and all of these elements are in ‘Twelfth Night’. So, when attempting to edit this text, and indeed planning for staging this production, these conventions must be taken into account.  And as this is a musical, additional scripting must occur to appropriately place the created songs in Shakespeare’s work.

Initially, the shipwreck creates a division of the twins, physically isolating them away from each other until the end of the play. This isolation is also connoted through the set, separating the two house holds of Illyria through a mirrored stage design. The depressed characters literally remain on stage, sulking about how difficult their lives are. The isolation is further highlighted by the sad, ‘defeated’ songs connoting a yearning for a better time in their lives; when happiness and joy were part of everyday. This isolation is also emphasised in the costumes that each character wears.

The characters are dressed in military issued uniforms. The use of uniforms …

Putting on The Tempest creates a number of interesting production issues in regards to Shakespeare’s work. This play is widely considered to be his final written work, yet it is a production that is uncommon; both in performance frequency and audience’s awareness. It is also known as one of Shakespeare’s dark comedies, mainly due to the very light focus on comedy and a rather heavy focus on the revenge and anger between characters. And, from a stage design point-of-view, it is set on a mysterious island, combining ethereal spirits and magic. So, while these concepts are unique for a modern audience, the question then becomes… how to approach the work?

Simplification is our apporach; a focus on the text, rather than the set, costumes and music. A stylised set has been created to highlight the dangers of the island. The sharp and jagged set communicates the darker ‘corners’ of the island, connoting danger and peril. This is also communicated through the addition of chairs. These objects symbolise the multiple properties and additional set pieces required for the production. From the ship to wood bundles, these chairs provide a further dimension for the characters to interact with.

The characters themselves are …

‘Ruby Moon’ is the first foray of The Revellers into a modern day text which provides the challenge of working outside of expectations. Matt Cameron’s script is an intriguing mix of magical realism and the abstract, calling into question what is a construct and what is reality.

The reason we have chosen this show as the first modern day text as a theatre company is because it has such vibrant characters, which are full of soul yet lacking purpose.  Throughout the script of ‘Ruby Moon’ the eight characters are presented to the audience using only two actors, portrayed through the use of voice, movement and props.  This play tests the actors performing in it because the characters vary widely.  From an old religious spinster to a slightly neurotic clown, the actors have to understand each character they are producing.  The characters are the heart and soul of this play.  That’s what makes ‘Ruby Moon’ so special.

The show begins with Ray and Sylvie, a couple frozen in time, surrounded by random bits and pieces of household objects, suspended on nooses. As the journey progresses we realise that each noose contains a clue to the nature of the characters they belong …

The Revellers offer a selection of different theatrical experiences for public and private audiences. Besides our regular theatre productions (open to the public) we also offer a range of unique booking opportunities.

In 2013, School incursions will begin. These productions have been especially created to link with specific educational outcomes vital to the Curriculum. We also offer a range of post and pre-performance workshops linking important social skills, with drama based activities facilitated by qualified teachers and the actors themselves.

The Revellers are also available for festival appearances, private bookings and a range of other events. The Revellers we have performed at the Armadale Evolution Youth Festival (2012-13) Murdoch Open Day (2012-13) Little Hands Week [Children’s Week event] (2013) and All the World’s a Stage [Senior’s Week event] (2013). These are wonderful events that provided a platform from contemporary plays, self-devised pieces or snippets of Shakespearean-based street performances.

For your future bookings, or tickets to our next show, please contact…

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