Reviewed by: Glam Adelaide
Review by Adrian Barnes | 05 March 2025

It has been a long time since Flinders University Drama Centre presented a show at the Adelaide Fringe. They are back! Gull – or – The most Lamentable Comedie Called Love (referred to from now on as Gull) is an assurance that we will be seeing a lot more of the talented company of actors that have developed skills in their training that assure you that every nuance and  message in this eccentric, funny and downright hysterical  play crossed the footlights and entertained its audience for about 90 minutes.

Glace Chase is one of Australia’s hidden talents. A leading advocate in the trans world, she has been over a long period exposing prejudice and advocating for understanding and acceptance of difference. Courageous, talented and oh so clever in the use and manipulation of language. Giving meaning and purpose to the art of theatre by exploring diversity and stereotypes and how they can damage themselves and their immediate environment through greed and self interest is the bedrock of this unique and very entertaining night in the theatre. And to do it in the style of Restoration Comedy – remarkable!

It takes a talented and hard-working cast to get stuck into a text that is embedded in Restoration style and language. This cast, with director Chris Hurrell at the helm, has developed and brought to life this vibrant, entertaining romp. There were times when the plot and the action were so in tune with the journey of the piece I found myself having to control my breathing so I didn’t become mildly hysterical with the joy engendered by this ensemble of very talented and, dare I say it, attractive cast. (Intimacy coordinator, please!)

The story – well, go and see for yourself! The protagonists Shardae Santos – great range, very clear ability to let the words be in the work. Articulate, strong, captivating. Isiah Macaspac, revelled in the luxury of playing both sides of the fence with great energy and flair and some pretty impressive physical skills. Liam Hennessy as Earl. Complex, devious, amoral. – I could go on, but why would I spoil it for you? Abigail McDougall as Andra – scheming, petulant, confused – but is she acting? Hannah McGrath’s Seely – so convinced of their need to be a man; what do they become in the search for power? And Alexander Karytinos – what a joy of a performance that embraced every element of Restoration style comedy. Bold, emphatic, lost, demanding and joyfully in charge of a very impressive instrument, his voice and body both showing how good training gives you the opportunity to step outside the box and take risks that enhance the performances of everyone around you – if you enable the others in your ensemble, you free the work at its highest level. This cast enables each other and the production in such a way that not a word or a moment goes to waste. It was a joyous romp.

Kathryn Sproul is the mistress of economy and her simple yet highly functional set allowed the actors to shine against the simple background and became a playground for them to hide in, run through, take a ride in a carriage. Simple bare bones that created complex and workable worlds. And a working harmonium on the stage.

Monica Patterson’s lighting design was inventive and moulded to the requirement of the piece with elegance and ease.

Chris Hurrell again proves how talented he is at bringing to life a production that looks as if it’s never been rehearsed. The cast were free, disciplined, totally at ease with their tasks within the work and their job within the play. Thank you for bringing a new/old work to our stage (it was originally commissioned for Bell Shakespeare) and getting Glace over from New York to see this piece of unique Australian writing take a place in our theatrical canon. Ten years ago it was way ahead of its time – today it is in the perfect place for people to sit up and take notice. Diversity is nothing new, we all have a right to be who or what we want and have a fucking good time doing it! We do this type of work so well it is a relief to see the style and energy of classically based theatre and language handled with such skill by a director and his cast.

This is a world premiere of an exciting, interesting and relevant piece of Australian Theatre. The added joy is that it references so many Shakespeare plays throughout the work that it is difficult sometimes not to cheer with joy.