Done/Undone is a original production that comes from Vancouver actor, Kate Besworth. The production was originally intended for the Bard on the Beach’s past season but was interrupted by the COVID pandemic and adapted into an indie film. This is the world premiere of the production at Shakespeare on the Saskatchewan.

 

  It stars an ensemble consisting Lisa Bayliss, Skye Brandon, Kody Farrow, Kristel Harder, Grahame Kent, Chris Krug-Iron, Bongani Musa, Mara Teare, Phillipa Williams and Kevin Williamson. Daniella Charette is performing swing which is a theatre term for understudy. It is directed by 25th Street Theatre’s artistic director Anita Smith.

 

  Done/Undone is an incredibly thoughtful and entertaining production that critically analyzes the works of William Shakespeare under a critical and feminist lens. The production masterfully utilizes a myriad of genres, styles throughout vignettes that allows it to dissect the subtext and written work but never loses sight that is a theatrical piece. This is an incredible produced piece of theatre but packs an additional punch with the themes dissected.

 

  Besworth’s script is timely, confident utilizes a myriad of themes such as racism, gender inequality white privilege and feminism that is truly powerful and effective that deliberately asks the audience to dissect, criticize and question both William Shakespeare’s body of work and legacy.

 

  Smith’s direction had laser precision dealing with themes of intersectionality, and critically exploring topics such as feminism, racism, coding, gender norms, white male privilege. Smith excels at making the production immersive and the series of vignettes segue into the next without distraction or unintentionally giving the audience the sense of breaking the fourth wall

 

 

  The vignettes were perfectly positioned through the performance utilizing the entire ensemble whose characters reappeared throughout the production.

           

  The production included scenes of two actors getting ready to perform and having a discourse on Shakespeare’s work and if and how it is applicable under a modern lens. William Shakespeare speaking to the audience, a debate panel on Shakespeare’s body of work, a couple discussing their feelings after leaving a Shakespeare play. Other scenes included a board member’s speech, German performers and two actors doing a Q&A talk.

 

  Farrow’s small scene as the rookie actor in one of the many scenes was so earnest and a great counterbalance to Brandon’s aloof and cantankerous consternation.

 

  Bayliss was charming and magnetic as this version of William Shakespeare but carried a reigned energy that evoked a gravitas of cockiness and self importance that was not as self aware as the character thinks it is.

 

  Brandon as Dr. Alec Jackson oozed condescension and radiated smugness perfectly like it was a new designer wear.

 

  Teare was fiercely passionate as Dr. Rosalind Kumari as Dr. Jackson’s debate opponent. Teare evoked such a raw defensiveness that was empowering yet heartbreaking. Teare as Isabella, an actor, encapsulated a weariness and exhaustion that felt lifelike.

 

  Harder as one half of the affected audience member couple had carried an emotional through line as a passionate introspective and critical character that utilized both the prose and subtext of Besworth’s script but also allowing the character to be real and humanized the small part that Harder portrayed.

 

  Musa played a perfect foil as the other half as the unaffected audience member who embodied an obtuse rigidness that felt real and almost plucked from society, a personality that is reminiscent. The scene perfectly encapsulates the discourse of our ever changing world view and social constructs that are constantly evolving 

 

  Kent was boorish, socially unaware and self-aggrandizing as the Measure for Measure actor.

Krug-Iron’s performance as the Board Member was heartfelt mixed with a stillness and melancholy that was surprisingly powerful.

 

  Williams performance as one half of the German Automaton performers was able to harness a manic and comic energy that felt both distasteful at times but also hilarious as it perfectly utilized physical comedy and language while harnessed by a stereotypical German accent. Williams perfectly played with the Besworth’s dialogue and subtext and humanized a caricature.

 

  Williamson balanced Williams’ performance with a veracity and energy that was a perfect cocktail to both the performance as well as Besworth’s dialogue and subtext.

 

  The costume design by Beverly Kobelsky was nuanced of the time? Current? But also timeless and was seamlessly integrated into the production.

 

  The lighting design by Luke Von Eschen allowed the production to feel immersive and flowed effortlessly

 

  The sound design by respefulchild was naturalistic and blended perfectly with the production.

 

  The set design by Ken MacKenzie was minimalistic and really helped convey the atmosphere and ambience of the production.

 

  Additionally the work by Ricardo Alvarado as production stage manager, assistant stage manager and dance director by Jacqueline Block were essential to the production instilling a good flow.

 

  Simply put, Done/UnDone  is the highlight of the company’s 39th season. Smith's direction, Besworth’s script and the performance by the ensemble allow the production to capture a myriad of emotions, insights, introspections and balance multiple styles and genres of comedy, drama, physical performance and comedy perfectly.

 

  Done/Undone will make you think of we view, interpret, value and hold the famous works of William Shakespeare. If you see one play this summer, this is one not to miss.

 

 Done/UnDone is playing at Shakespeare on the Saskatchewan and runs from July 13-August 24th. Tickets can be bought online or at the box office.