Venus and Adonis – REVIEW
Image: VENUS AND ADONIS, Adele Querol, Anthony Gooley. Photo: Kate Williams
Damien Ryan might well be Will Shakespeare reincarnate. He has the Bard’s mastery of cadence, affection for verbiage, wit, poetry, sauciness, and unabashed passion. In his play, Venus and Adonis, Ryan channels Shakespeare while recreating his world on stage in all its filthy, lustful, sublime, bawdy glory.
Venus and Adonis was written during Covid lockdown and it has a strong sense of introspection and intimacy about it, and perhaps a little bit of indulgence. It was first realised as a feature-length movie and is now having its debut season where it truly belongs, on stage.
Seymour’s Reginald Theatre is modest but it suits this production; the closeness of the audience allows an almost conspiratorial connection with the actors. The small space also mimics the confined rooms in which most of the scenes are set: a bedroom, doctor’s room, the Royal court.
The play opens with a half naked Shakespeare (Anthony Gooley) writhing in pain on the floor. Soon after, we learn the reason for his agony as he sits on a doctor’s table with his legs apart, ready to receive a hot iron rod on his tender regions. Possibly syphilis, definitely a venereal disease. It seems the Bard has been shaking his spear at anything with a pulse.
He is currently having a lusty affair with Aemilia Lanyer (Adele Querol), who is his muse and unintentional ghost-writer. It is speculated that Shakespeare borrowed heavily (read: stole) from Lanyer who was herself an accomplished but as yet, unpublished writer.
This is all taking place in London during the plague. Meanwhile, Shakespeare’s wife, Anne (Bernadette Ryan), and daughters, Susanna (Ava Madon) and Judith (Akasha Hazard) have been left to fend for themselves in Stratford-upon-Avon, and also to deal with the recent death of Hamnet, Shakespeare’s son.
The story — and Shakespeare — bounces between these two scenarios, with the Bard’s sexuality, moral fibre, and creativity constantly under scrutiny. Meanwhile, with plague raging and theatres closed, the King’s Men (the acting troupe with whom Shakespeare performed) are invited to put on a show in the Royal court as a prelude to the Queen’s masque.
In a meta twist, the show they are to perform is Venus and Adonis. Lanyer has been cast as Venus and Nathanial Field (Jerome Meyer) who hitherto has always played the female role, has been cast as Adonis, much to his dismay.
Some of the funniest scenes in this show are from the rehearsals for the play and Field’s difficulty in being a heroic male lead. The other merry band of King’s Men add to the mirth, including Richard Burbage (Chris Tomkinson), Robert Armin (Kevin MacIsaac), and miscellaneous others played by Oliver Ryan, Max Ryan, Dinitha Senevirathne, Liv Rey Laaksonen.
Some of the peak moments are provided by Belinda Giblin as Queen Elizabeth I. Her make-up, dress, and posture are consummate, and she has a natural regal air about her. If only there had been more of her. Her character and Giblin herself bring a refreshing diversity to the stage, and Giblin is endlessly watchable.
This is exceptional writing, although a little on the lengthy side. Shakespeare fans, history buffs, devotees of theatre, and those who enjoy smart, cheeky, fearless writing will enjoy this show.
