Auckland Shakespeare in the Park 2025
A Shoreside Theatre production
Pumphouse Amphitheatre
(if wet – Pumphouse Theatre)
Richard III
By William Shakespeare
Dir Catherine Boniface
Jan 22, 23, 24, 28, 31, Feb 1, 5, 6, 9, 11, 13, 15
The Taming of the Shrew
By William Shakespeare
Dir Mags Delaney-Moffat
Jan 23, 29, 30, Feb 4, 7, 8, 10, 12, 14
Review by Malcolm Calder
22 January 2024
and even some who survived his ascension to the throne
Tragedy is a commonly used euphemism in theatre for when lots of people die. Richard III doesn’t quite reach Titus proportions, but it has to be up there and this particular production is in good company.
It is part of Shoreside Theatre’s annual Shakespeare in the Park series, now in its 29th iteration, and staged at the delightful, terraced, outdoor amphitheatre adjacent to Lake Pupuke at Takapuna’s Pumphouse theatre.
Rather than try and recreate Shakespeare’s historical setting and fail, Director Catherine Boniface has chosen to locate her Richard III in a seedy but sartorially splendid 1930s London. Her program notes suggest the setting is reminiscent of Peaky Blinders – and, yes, there were some artfully angled flat caps on display. Gangland in a word. It works too, largely because it is analogously appropriate to the dastardly deeds that Richard, Duke of Gloucester got up to towards the end of the the English Civil Wars.
I won’t even begin to list all the deaths he generates. Suffice to say it’s a lot – one might even suggest he ‘eliminated’ his way to the top. And misogynistically too because, as far as I recall, all those who died were males. Something to do with lineage in those dastardly days when York’s rose challenged that of Lancaster and the distaff lines were those who suffered the pain and of loss.
Richard, of course, received his final comeuppance and the reference to Leicester reminded me that his remains were eventually discovered under a carpark there only 15 years ago.
Chris Rather played Richard with a suavely cool and assured arrogance, his ambition plainly on display, and even his disintegrating final days were well handled. He was a standout for me in 2024’s Measure for Measure and it was good to see him progress to the Richard role. The supporting roles more than served to enhance and focus attention on Richard’s dominance but the standout for me this time was Suzie Sampson as Lady Margaret – subtle, nuanced and very, very professional.
The period setting on a simple stage is fairly stark but allowed the inclusion of some delightful props – the wooden Lancaster bomber, the pistols and, of course, the costumes. I could swear the ghoulishly severed head with spectacles intact was still dripping blood. Although I did wonder if the prominently held and waved cigarettes may have in fact been vapes.
On balance, another competent and highly entertaining part of the Shakespeare in the Park series.
Conversely the comedic Taming of the Shrew is the very antithesis of Richard. Its content, gender-neutral casting and the fact that it is performed by what is effectively Shoreside’s youth company mean it would be facetious to compare the two.
The plot itself of Shrew is well-known. In overly-simple words, Lucentio loves Bianca but cannot court her until her shrewish older sister Katerina marries. The eccentric Petrucio marries the reluctant Katerina and uses guile and trickery to render her an obedient wife. Lucentio marries Bianca and, in a contest at the end, Katerina proves to be a most obedient wife. The end !
There is probably a moral in there somewhere but the play is almost like a minefield for actors with cross-cuts of double entendre, split-second timing and that all important factor – suspension of disbelief. Shrew calls for a closer understanding of, and appreciation of the nuance in Shakespeare’s words coupled with the timing that is essential to pull this off revealing the farce beneath. Without them the humour just doesn’t work.
And that is where director Mags Delaney-Moffat is to be congratulated on clearly focussing her youthful and highly-promising cast. They work as an ensemble, there are laughs aplenty and the work that has gone into achieving them is clearly on display.
It would seem churlish to single out anyone but the work of Heather Warne (Petrucio) is almost upstaged at times by the wit, humour and general antics, and indeed the timing and presence, of Lizzie Morris as her ‘man’-servant Grumio. And, despite a demure start, Matilda Chua (Katerina) grows in confidence as true love with Petrucio eventually blossoms.
But there are many highlights and both director and cast are to be congratulated.
The annual two-play Shoreside season is now firmly established on the Auckland theatrical calendar in this, its 29th season.
Note: If wet, transfers indoors.
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