Brave New World Theatre is, according to its description, a 'new type of theatre company'. The company ethos is to 'provide a showcase and training platform for a rolling cast list of newcomers to the industry'.

Brave indeed. The Two Gentlemen of Verona, Shakespeare's first romantic comedy, is a delicious and witty play which would suit a young, ambitious (and for the most part, attractive) company endeavouring to display 'the best of new acting talent emerging from drama schools'. The question begs then, does it?

Sadly not. This is not, however, entirely the fault of an earnest bunch of graduate students who certainly demonstrate commitment and - to be fair - spirited performances. But the drama school exercise that director Kim Durham seems to impose on the company, in realisation amounts to little more than a competent showcase.

Most of the actors have been trained at The Academy of Live and Recorded Arts (ALRA), with the majority being both taught and directed by Kim Durham, and it is difficult for an audience not to view it in any other way. Most of the actors handle the technical challenge of verse-speaking well enough and Kim Durham equips them with the verbal understanding and subsequent execution of Shakespeare's language, but fails to liberate his actors - and more importantly, to provide contemporary relevance.

The set - designed by Zoe Price - comprises minimal luggage, potted plants and an Art Deco backcloth. It provides suitable exits and entrances enhanced by minimal lighting from Lawrence Stromski. Kim Durham sets his gentlemen in the decadent era of the 1920s, and praise should certainly be attributed to the costume designer - not credited in the programme - for the gorgeous and lovingly-laundered outfits.

Yet unfortunately this only serves to place the piece in a slightly amateur context, suggesting a bygone theatre. The question the company must ask themselves, if they are to develop themselves further as individual actors in their own right is - does this actually provide what they need? Theatre has moved on from the required skills necessary in any drama training, and must prove itself to be innovative, relevant and unique if it is to attract agents and reviewers. The company seems to be at odds as to its mission statement and its intended outcome - the actors merely being a product of their training with the present production revealing little individual promise. Mention must be made, however, of David Holby who plays Valentine with particular flair.

Cast Credits: Valentine - David Holby. Proteus - Cameron Anderson. Julia - Sally Gooda. Silvia - Annabel Ballin. The Duke - Gwilym Lloyd. Speed - Ben Wigzell. Lance - Adam Montgomery. Lucetta - Rebecca Legrand. Turio - Elliott Inglese. Antonio - Lloyd Morris. Pantino - Adrian Salmon. Crab, a dog - Bonnie.

Company Credits: Writer - William Shakespeare. Director - Kim Durham. Designer - Zoe Price. Lighting Designer - Lawrence Stromski. Musical Arrangers - Adrian Salmon, Lloyd Morris. Stage Manager - Sam Winwood. Company - Brave New World Theatre. www.myspace.com/bravenewworldtheatre

END

(c) Mike Miller 2007

Fringe Report (c) Fringe Report 2002-2012

www.fringereport.com