Is this a man in tights I see before me?

IN A NUTSHELL: Arts laureate Michael Hurst brings his love of Shakespeare, physical theare and making people laugh to his devised work, No Holds Bard, in which a failing and deranged actor is visited by his demons — four of Shakespeare’s most tragic characters. Picture by Robert Catto

Multiple murderer Macbeth from Shakespeare’s blood-drenched tragedy isn’t known for his one-liners. Nor does doomed Moorish outsider Othello have the Venetian court laughing all over the shop with pull-my-finger gags. Gloomy fruit-loop Hamlet’s jokes are mostly juvenile while stripped of his regal trappings, King Lear’s few funnies are just tragic.

The ageing, failing, cuckolded actor Michael Hurst plays in his tragicomedy No Holds Bard is visited by them all. Hurst’s devised one-man show centres on the deranged and self-destructive actor who is driven to the brink by his wife’s infidelity and a lack of acting opportunities. He confronts his demons in what he hopes will be a final dark night of the soul.

The problem is, his demons are as crazy as he is. The actor is visited by a foul-mouthed Macbeth, a confused Hamlet, a know-it-all Othello, and a really hungry King Lear.

In many ways the show is an apogee of Hurst’s love of Shakespeare and physical theatre. Although probably best known internationally as Iolaus in the TV series Hercules, Hurst has staged weapons-grade productions such as interactive zombie war experience, The Generation of Z: Apocalypse, as well as the immersive musical Pleasuredome. But with No Holds Bard he returns to his first love — the stage.

When Hurst devised the show with writing team Natalie Medlock and Dan Musgrove six years ago he wanted the younger actors energy and no holds barred ideas. He was forearmed with ideas of his own though, of course.

Maturing like a fruit and nut cake“The work had to be Shakespeare-based — my thespian character wears tights — and it had to be funny and crazy.”

The production has matured over the years, says Hurst. Since launching the show in 2012 he tweaked it after each performance in response to audience reaction. He tries out new scenes to see what works. Returning to the play is like putting on an old, favourite dressing gown but one that is not hugely comfortable, he says.

“He is maturing,” says Hurst of his tragicomic character.

“Even last night I tried new scenes. The character has grown. We’ve added and refined things. It’s a richer performance now than when I first did it.”

Hurst has now even given his character his own name.

“Who is the central character?” he asks.

“It’s kind of me. The irony is the character undercuts the idea of the great tragedian. As an actor-director I ask myself ‘how am I relevant? How does this work?’ In the past few years you get to a point where — it’s not that you don’t care, more that there’s nothing to lose. The past two years have been more focused for me. I’m a creature of the stage. I wanted to hook back more back into it in a conscious way.”

Classical craft“The humour of No Holds Bard has people howling with laughter but I pull the rug out from under the audience’s feet now and then and you get a few oohs,” he says.

He learned his art in the 1980s, largely under director Raymond Hawthorne at Theatre Corporate where acting was a classical craft.

“I’m rekindling all that.”

Despite several decades as an actor-director in film, TV and theatre, the excitement and terror of walking on stage never goes away. People have learned not to disturb him before curtain up.

“You should see me before I go on. I’m focusing, getting into character and muttering to myself. When I get on stage, it’s like diving into a pool. Once you’re in mid-air there’s no stopping. My wife Jennifer (Ward-Lealand) is Doctor Theatre. She says ‘just trust your body. It remembers what to do.’”

Stripped back to its essentials, the show is portable enough to fit the props into the back of his car and is best suited to an intimate space. The nature of an intimate environment means people like to stay on and chat, so after each performance Hurst offers the audience a question and answer session.

“I’ve been involved in big, technical shows like Pleasuredome but I’m much more into the immediate, direct experience. Hopefully, the audience gets something out of this one.”

No Holds Bard starring Michael Hurst, the Dome Room, August 8, 7.30pm. $30 tickets at The Aviary (cash only). Ticket includes a 30 minutes Q&A with Hurst after the performance. The show is supported by Arts on Tour and In Cahoots.