Queenly Cate Blanchet turns her attention to Richard II
Cate Blanchett is known for the pale beauty of her face and her vivid film performances. Her latest work marks a significant change of pace. As the curtain rises at the Sydney Theatre, she sits centre-stage, a still figure in a white blouse and trousers, blond hair, high cheekbones. A storm of golden petals drifts down from the ceiling, and she wears a crown.
It has become fairly commonplace for film actors to star in London's West End and on Broadway, but this transposition is different. Miss Blanchett is playing the king in Shakespeare's Richard II, the first part of a rigorously condensed version of the eight history plays. Miss Blanchett and her husband, Andrew Upton, have become artistic directors of the Sydney Theatre Company, an organisation which already has a fine opinion of itself. "In so far as there is a National Theatre in Australia, the Sydney Theatre Company is it," says Bob Brookman, the general manager.
Sydney's "The War of the Roses" ruthlessly cuts the histories down to two evening performances, each lasting a little under four hours, focusing on the death of kings and the hollowness of their crown. If this production, performed as part of the Sydney Festival and now on tour, is a clue to the nature of Miss Blanchetts' regime, it will be energetic, controversial, ambitious, and, to use one of Miss Blanchett's favorite adjectives, "noisy." Casting her as Richard II was the bold idea of the director, the fearless 36-year-old Benedict Andrews. Having an actress play Richard II is not original: Fiona Shaw did it in London in 1995. But casting a woman as Richard III most certainly is. He is played by Pamela Rabe, one of Australia's most accomplished actors, without a hump and with a heavy sense of irony, which provokes tense laughter in unlikely places.
Miss Rabe is not as self-consciously feminine as Miss Blanchett, who deploys laughter--her own--to dramatise the alienation of the king from his court, and fondly adopts girlish poses during the deposition scene in which Richard passes the crown to Bolingbroke. Shakespearean actors need to drill their vocal cords and Miss Blanchett seemed a little short of training, but she made a likeable, vulnerable, androgynous monarch. Given the extent of the cuts and transpositions, there could be no lingering over the development of character. The playful relationship between Prince Hal (Ewen Leslie) and Falstaff (John Gaden), for example, was speedily established by Hal fellating Falstaff. Sydney was not fazed.
Many of Australia's best actors have emigrated in search of larger audiences and new writers. Miss Blanchett want to bring in a younger audience to the Sydney Theatre Company's performances. "We're hoping to take a more joyous approach," Mr. Upton said recently. Miss Blanchett and Mr. Upton also want to develop the company's reputation abroad as well as at home. Later this year their production of A Streetcar Named Desire, directed by Liv Ullman with Miss Blanchett as Blanche Dubois, travels to the Kennedy Centre in Washington, DC, and the Brooklyn Academy of Music. In this case of celebrity culture, the emphasis will be on the culture.
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