On Saturday night, I had the privilege of going to see Sydney University Dramatic Society’s (SUDS) production of The Complete Works of William Shakespeare (abridged) [revised] [revised again] directed by Coll Burns and Toby Eastway, and produced by Rose Cooke.
Written by Adam Long, Daniel Singer, and Jess Winfeld, The Complete Works is a meta, self-aware transformation of all 37 of Shakespeare’s plays, taking the audience through the tragedies, comedies, and histories in a Vaudevillian 90-minute whirlwind.
The abridge production holds a rich history in the West End, premiering at Edinburgh Fringe in 1987, and holding the title of the second-longest running comedy. It has since been performed in theatres across the globe (pun intended) in a myriad of over 30 different languages.
This adaptation allows the outdated morals and harmful characterisations in many of the Bard’s works to speak to a modern audience in a way that is upbeat, culturally relevant, and downright entertaining. The entire cast and crew terrifically blend everything that is incredible about Shakespeare’s works with a satirical take on all that doesn’t glitter.
The production makes great use of the small theatre space with a beautifully imagined set designed by Rynn Hwang and Romain Yborra, and a creative and well-executed lighting design, courtesy of Henri Collyer, Charlie Campbell, and Jude Metcalf.
The four-person cast of Aidan Hale, Catherine Gilbert, Henry Atticus Wilcox, and Izzy Donaghue is a powerful ensemble with palpable chemistry. Hale’s attention to the detail of his expression created a powerful blend of comedy and genuine drama and emotion. His characterisation was strong and consistent while always bringing a new life and focal point to each scene, making him the highlight of the show.
Gilbert’s introductory monologue was extremely strong and grounded, and she is to be strongly accredited for her characterisation and commitment to the dramaturgy of the play.
Atticus Wilcox’s vulnerability on stage with his physical comedy brought light, life, and laughter to the show. It is difficult to summate the joy it is to watch him perform, and perform he does — he makes this show a hilarious must-see for regular theatre-goers and non-theatre fans alike with his accessible humour.
Donaghue’s portrayal of the ‘stage manager’ was perfectly awkward, the audience feeling a connection to her humanness. She may play a small role, but in no way is this a small actor, every moment on stage being one of comedic impact.
The costume design, by Alexis Pridgen, added another element to the comedy, the chaotic simplicity tailoring itself to the show’s characters, whilst still having elements of calculated charm and detail. Kudos must be given to the stage managers, Sofia Cleaver and Matilda Holton, for the large amount of costume changes they had to coordinate for Atticus Wilcox alone.
Burns and Eastway, a first-year duo making their directorial debut for SUDS, have been brilliant in bringing this play into current relevance while holding onto the details and nuances of Shakespeare’s works. Though the play is fast-paced and satirical, it is in no way dismissive of the art form of this classic literature. As such, Burns and Eastway toe the line of eclecticism in every scene whilst still managing to have a centred and grounded relationship with the text and the audience.
If you decide to go see The Complete Works of William Shakespeare (abridged) [revised] [revised again], be prepared for lighthearted audience interaction (the front row is not for the faint of heart). You will laugh until you run out of breath, leaving the theatre exhausted, but overjoyed. I certainly will be seeing this again in its second week of performances.
