Reviewed by: Molly Lidgerwood

After four years, MUSC returns to Shakespearean comedy with their whimsical, enchanting and, “utterly original” production: Patience. Despite the tempting allure of staging tragedy, co-writers and directors Josh Higgins and Alexi O’Keefe delivered 50-minutes of pure entertainment and escape through their heartfelt homage to Shakespeare’s comedy. Their production is a triumph through the combination of its quick wit, ensemble performances, and excellent pacing – never a moment that dragged on for longer than required.

Patience shines so brightly right from the moment the audience enters the theatre, largely thanks to the captivating performance of Gus Higgins. Portraying the ancient and obstinately grumpy Barthol, Higgins’ comedic portrayal of the character anchors the entire production and brings life to the sharp-witted writing of J. Higgins and O’Keefe. Not only does he commit to the cranky persona of Barthol, but he adds nuance through a seamless transformation in character and physicality by the conclusion of the play, unyieldingly holding the gaze of the audience until the very end. Each character’s performance was introduced and aided by their aligning costumes, with Barthol’s a particular standout. G Higgins was wrapped in bandages from head to toe, essentially glued to his wheel-chair for the majority of the production, ultimately affirming the antiquity of his character.

Elowen Killion-Bridley’s monologue, expressing the deepest wishes and regret of her character Viola, brings the shade needed to balance the whimsical production. Through the intersection of J. Higgins and O’Keefe’s writing with Killion-Bridley’s unfeigned and reflective performance, particularly during the monologue, the audience is able to reflect on what it means to be patient. 

Otherwise engulfed by the mystical fairy-tale atmosphere of a Shakespearean comedy, Patience expands their collection of characters through Frank, an avaricious, yet boisterous salesman who intrudes on the adventures of the leading cast. Declan Duffy’s performance of the stubborn merchant provides a vibrance and humour which amplifies the character’s incongruous attempts to find the best deal, regardless of the crisis at hand.

Despite the individual performance stand-outs, Patience is truly an ensemble piece, one which successfully thrives on the misinterpretations, deceit, and hidden wishes of each character. Patience thrived under the actors’ skilful engagement with one another. However, the play’s conclusion briefly suffered from over-crowding, as it became difficult to decipher individual dialogue and movements, and it became unclear where exactly to look. Nevertheless, the archetypal Shakespearean chaos served to entertain and it certainly did. The high energy of the production was advanced by the set design of O’Keefe and Georgia Campbell, surrounding and supporting the performers with their camping base, fitted with a tent, campfire, rustic backdrop and miscellaneous props (ranging from a golden pistol to a mysterious orb, which both elucidate and transform the fairy-tale elements of the performance).

Ultimately, Patience is an open love-letter to Shakespeare’s comedies, drawing particular inspiration from As You Like It and Twelfth Night, successfully re-imagining what comedy is and should be, while never losing hold of Shakespeare’s original visions.

Patience played at the Guild Theatre, University of Melbourne from October 7th-9th.

Photography credit: Ella McDermott

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