Ridley explores the play within the play
The show must go on.
One might think they know the meaning of this timeless phrase, having heard it their whole life.
However, Ridley College’s performance of “The Farndale Avenue Housing Estate Townswomen’s Guild Dramatic Society’s Production of Macbeth” redefines this expression and displays it in a whole new light.
The Farndale Avenue franchise, originating in the 1970s, aimed to present popular works of literature through a play within a play.
Created by David McGillivray and Walter Zerlin Jr., the comedies show the struggles of the elderly women in the Farndale Avenue Housing Estate as they attempt to put on a production in front of an adjudicator and audience. They are of course hindered by problem after problem.
Ridley College’s adaptation followed the students at Farndale Academy hoping to put on a production of “Macbeth” in front of the Cappies Critic in attendance, with their own fair share of problems to solve, the biggest of which being the male stage manager being forced to take on the role of Lady Macbeth in the absence of the actress.
The production was nothing short of hilarious; it was skilfully done, with the near-perfect sense of balance needed for a show that must be performed poorly in order to be performed well. It showed the genuine effort of a group of amateur students as they try to put on an infamous play, while also being the only time one would hear lyrics from “Bohemian Rhapsody” be substituted for lines from “Macbeth.”
Of course, none of this could have been done without the incredible acting by the cast, many of whom were cast in two roles — a student at Farndale Academy and a character in “Macbeth.”
Perhaps the most notable performance in this case was that of Quinten Neudorf, who started as Quinn, the Stage Manager, but then reluctantly became Lady Macbeth.
His performance could make any audience member crack a smile, but was also able to show growth as Quinn’s portrayal of Lady Macbeth slowly became more confident.
Abigail Sullivan’s seamless improvisation within her levelheaded character, Abby, the president of the group, and Vega Armstrong’s attitude filled portrayal of Macbeth must also be commended.
A definite highlight of the show was the seemingly impossible, yet impressive, speeds with which Marika Kovacsics recited Shakespearean soliloquies during her role as the Producer.
The authenticity of the show was heightened by the purposely faulty lighting cues designed by Kris Su and executed by Rozhina Mazhar, and the sound, also done by Kris Su. The “accidental” disco lighting and abrupt sound cues added to the amateur feeling Ridley College hoped to achieve.
Furthermore, the costume choices made by Olivia Chen accurately showed how little the students at Farndale Academy knew about “Macbeth” with kilts and Adidas sneakers, which often doubled as weapons along with pirate swords.
While the execution of some jokes fell flat at times, the cast was not phased and would have the audience laughing again within seconds.
Whether it brings about flashbacks of personal theatre struggles or simply makes you laugh, “The Farndale Macbeth” is an amazing show and the performance put on by Ridley College did the show nothing but justice, with the cast and crew mastering perfect imperfection.
It left the audience smiling, but also perhaps in need of a Shakespeare brush-up.