Enter a claustrophobic world in which sexual betrayal combines with insanity and
the horrific cost of payback, when Michael Hurst is let loose on one of the most intense tragedies ever written The Changeling, Thomas Middleton and William Rowley’s wild masterpiece Sometimes the one you love isn’t the one you want. Beatrice hires a hit man to murder her fiancé, only to become trapped in a vortex of lust and deceit. Once the deed is done, Beatrice discovers it’s not money or jewels that her hit man wants as his reward but something far more precious. We live in an experiential age, where audiences are hungry for experiences that provide a deeper level of participation and entertainment. In line with this trend, Hurst creates a theatrical encounter
that explores proximity, intimacy and high-octane acting at close quarters – an experience that can’t be downloaded.
Enter a claustrophobic world in which sexual betrayal combines with insanity and
the horrific cost of payback, when Michael Hurst is let loose on one of the most intense tragedies ever written The Changeling, Thomas Middleton and William Rowley’s wild masterpiece Sometimes the one you love isn’t the one you want. Beatrice hires a hit man to murder her fiancé, only to become trapped in a vortex of lust and deceit. Once the deed is done, Beatrice discovers it’s not money or jewels that her hit man wants as his reward but something far more precious. We live in an experiential age, where audiences are hungry for experiences that provide a deeper level of participation and entertainment. In line with this trend, Hurst creates a theatrical encounter
that explores proximity, intimacy and high-octane acting at close quarters – an experience that can’t be downloaded.
Filled with strikingly modern psychological insights, The Changeling, adapted and
directed by Michael Hurst features one of the theatre’s most complex and intriguing
partnerships. Beatrice and her disfi gured hitman, the ironically named De Flores, transgress all moral limits. The pact they enter into, driven both by physical loathing and erotic frustration, unites them in a corrupt, collusive and adulterous intimacy.
Blurring the boundaries between right and wrong, actors Anthea Freya Hill (PopUp Globe, Guys & Dolls) and Mel Odedra (Tea, The Curious Incident of the Dog in the Night-Time) will collude in this production, reminding audiences of the thin line between victim and monster. In response to the awesome success of the Pop Up Globe, which has drawn audiences away from the Auckland Summer Shakespeare’s annual activation, challenging its history of 55 years and recently forcing it into recess, Hurst and the Auckland Summer Shakespeare Trust have repositioned themselves to create this ferociously intimate Winter season. Widely acknowledged as one of New Zealand’s leading exponents of Shakespeare, Hurst is also a Jacobean Tragedy fanatic, having directed or acted in productions of Tis Pity She’s a Whore, The Duchess of Malfi, The Revenger’s Tragedy and one other previous production of The Changeling in 1990. Uxbridge Theatre Howick, August 2&3, 7:30pm Duration: 80 minutes #thechangeling2018
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