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POSTED: 04 DEC 08

Photo credit: Heidren Lohr

Queen C

(B Sharp; Belvoir Street Theatre, Surry Hills, Sydney; Until 21 December)

What does the C in Queen C stand for? Clever? Captivating? Confounding? Controversial? Curious?

Actually, it’s Queen Christina, ruler of Sweden (1632-1654). But any of the other Cs would fit this production — and its central character — just as well.

This B Sharp production of Finnish playwright Laura Ruohonen’s account of Queen C’s life is a lively mix of exposition, mischievous game-playing, allegory and humour.

Queen Christina was only a child when she was crowned after the death of her father. Defying convention, Christina railed against the constraints of the court and the expectation that she would in time produce an heir to the throne.

Purportedly raised as a boy, Christina redefined sexual and gender stereotypes, taking both male and female lovers. She was an avid patron of the arts and founded theatres and universities. Debate continues over her eventual abdication.

Director Kate Gaul has chosen a talented and intuitive cast. They inhabit the small space with vitality and split-second timing.

The two Christinas, Viva Bianca and Natalia Ladyco, portray different aspects of Queen C — both are fascinating to watch. Genevieve Mooy (Queen Mother) is a marvellous study of a woman driven mad with grief (and driving others mad around her).

Special mention must go to the brilliant set design of Kate Shanahan — Downstairs Belvoir is a tiny space but it was used to great effect with clever lighting, projection and multimedia effects and division of the stage by curtain.

The audience is sometimes held at arm’s length in a Brechtian manner, and at others lightheartedly drawn into the characters’ interactions. Sometimes it was difficult to know exactly what was going on — but it is such a visually and lyrically stunning piece that somehow it didn’t matter. The whole is indeed greater than the sum of its parts.