theatre: Elizabeth Rex allows for artistic expression
Eury Chang, The Peak

Elizabeth Rex, the artistic brainchild of Timothy Findley, is a show set in early 17th Century Stratford upon Avon. The play brings together issues of power and gender identity. Beautifully written, Elizabeth Rex captures historical moments in a way which is relevant to modern audiences.

The main plot revolves around Elizabeth, the newly crowned Queen of England at age 25. In this production, Elizabeth visits a barn where the Old Bard William Shakespeare himself houses his troupe of actors. What ensues are interesting relationships where we see the most vulnerable traits of the main characters revealed.

The scene takes place in the barn, where Ned (played by David Marr) reveals to his fellow thespians that he is dying of the "pox." Soon after the Queen enters, she states that she is impressed by Ned's performance of Beatrice for Ned is infamous for playing women, as were many boys during Elizabethan times. Findley focusses on the relationship between Elizabeth and actor Ned Lowenscroft, and uses this as a vehicle to explore gender and identity issues.

At one point, the Queen states to Ned, "If you teach me to be a woman, I will teach you to be a man." After this, the action begins to unravel quickly. Gabrielle Rose plays the Queen as a boisterous but complex woman who hides behind many masks. Her gender and status as sovereign of England are often contradictory roles. Back in the 17th century, women rarely ruled the land, let alone countries. As a result, the Queen alternates between her "male" and "female" selves. This process of transformation is difficult and Rose tackles the challenge with absolute commitment.

Furthermore, David Marr plays Ned, the gay Shakespearean actor, with a depth that is both engaging and realistic. His command of the stage reveals an actor who understands his craft well.

Director Janet Wright breathes life into Findley's creation. For the most part, the directing was seamless, and the actors seemed natural in their actions. However, there were times when the Queen moved about so much that the staging seemed contrived, rather than natural. Otherwise, Wright knows how to bring focus to the areas of the play that needs attention. During intense monologues, the other actors are still and keep their focus centre stage.

Set design by Ted Roberts was simple and versatile. The actors doubled as technicians, moving furniture about to create a dining area fit for a Queen. The barn had two levels, and gave the setting depth. The two exits, disguised as barn doors, allowed the performers to move on and off stage easily. The rustique nature of the barn sharply juxtaposed with the elegant costumes and royal presence.

As a production, Elizabeth Rex was enjoyable with an interestingly touching twist of fate. This show attests to the ability of theatre to suspend our disbelief while dealing with issues from an artistic point of view.

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