Born to it.

I’m reading Michael Frayn on his theatre work at the moment and he establishes early that he had an obsession with the theatre from a very young age. He wrote plays, made the sets, the puppets and forced it all up on his doubtless long-suffering family. He doesn’t mention getting any particular encouragement. I wonder if his relatives ever looked back on those incipient moments of the writer emerging with surprise that it turned out so well in the end.

I noticed earlier today that another of these youngsters with the courage of their obsessions was Mabel Esther Allan.

Mabel announced to her family at the age of eight that she planned to be a writer. They took this seriously and when the family moved a few years later Mabel was given a spare room to use as a study. Her father bought a large office desk which she was to use for the rest of her life, and presented her with a typewriter upon which she taught herself to type.

She went on to write almost 200 books and hundreds of short stories.

Richard the III – Adelaide University Theatre Guild

A note merely to echo the rave reviews that this production led by Megan Dansie with Bart Csorba in the title role is receiving. By all accounts the direction and lead are brilliant, with a strong cast in support. Ah, I was so envious listening to Monica describing the night, if only I wasn’t the other side of the world!

Stagewhispers said:

Megan Dansie’s inspired direction comes from the premise that in his ruthless aspirations, Richard is simply adhering to his society’s traditional rules of intrigue and violence. This sets the scene for a very complex Richard, a man embittered but not defined by his physical disability.

Bart Csorba portrays Richard sublimely, adding unexpected nuances to the character of this malevolent, manipulative killer. Menacing and self-absorbed, Richard is everywhere. Dressed completely in black, he leers into our faces, lurks in shadows behind the audience, struts about the stage or looms above us on the mezzanine. He is a compelling embodiment of sadism, manipulation, calculated indifference and witty, yet cruel, humour. However, it is in his subtle demonstration of Richard’s growing paranoia where Csorba excels. Richard’s final realisation of the enormity of his deeds and that he should now truly be afraid of shadows is portrayed exquisitely.

For the rest go here

You can see other reviews here and here.