#PRINCESS.

This play has thoughtful reflections on politics, morals, and the malaise of mediated existences that saturate contemporary society.  The seemingly eclectic mix of genres makes perfect sense and has direct bearing on the themes that are the central concern of the rich text.  The centuries old art of spin and ruthless power games is exposed with wry humour and wit. The performance is edifying without being clichéd and is injected with a healthy dose of antics and buffoonery.

The charming, smooth talking Chancellor (Alistair Frearson) has a striking, and clearly deliberate, resemblance to our newly installed Prime Minister. Alfred (Michael Gosden) opens the show with warmth and keeps his audience close at hand from beginning to end. The crass and vacuous King (Mitchel Edwards) is played with a good measure of reflexivity and the Princess (Chelsea Zeller) often commands genuine authority. The versatility of the performers is frequently put to the test and goes delightfully beyond expectations.

The limitations of the set design and the technological properties do not prove to be a hindrance but the performance would certainly benefit from a more polished approach to the staging. This would enhance the clever combination of live action with sound effects and screenings, and more effectively demonstrate how technology is implicated in the social processes that are addressed in the show.

Patricia Di Risio