Open centre stage. Dark stage flats form a semi-circle around a white table. The scene was set for King’s Infringement Festival to begin. The festival is produced by the King’s Theatrical Society (KTS) and has a long standing history on campus. It showcases student-written, student-created and student-produced shows every year. This year, each of the four nights included a different lineup of productions. After a heartfelt introduction from producers Sarah Ryan and Gemma Hornsey, the shows began.
Creusa and Dido reimagined Virgil’s The Aeneid from Dido’s perspective. Written and directed by KTS Vice-President Sophie Barnes, the play gave audiences a fresh take on what might happen if Aeneas’ two past loves met in the afterlife. Barnes’s portrayal of a jaded Queen Dido beautifully contrasted Lily Van Beek’s lovesick and naive Creusa. Gabe Sutherland’s cameo as Aeneas made the tale all the more heartbreaking as he openly yearned for Dido without giving Creusa the time of day. Though potentially confusing for those without prior knowledge of The Aeneid, this play was the perfect nod to a classic FYP text.
One More Summer Day was a 1920s inspired slapstick comedy, in which a cold December day unexpectedly turns hot. Bertie, played by Siya Ajay, wants to get their friend, Lee, played by Preet Dhaliwal, out of work early on this hot “summer” day. Bertie’s friend Vic, played by Tomas Schwichtenberg, is hellbent on stopping Bertie. While the plot was somewhat confusing, the cast blew us away with their over-the-top physical comedy, especially Ajay’s stellar fight choreography. Writer Sofia Moon and director Ameila Penney-Crocker breathed new life into an age-old style of comedy. The highlight of the show was an appearance from the beloved KTS ham (if you know, you know).
The short skit Bad Friend saw Carla distressed over suspicions of her boyfriend’s infidelity. After confiding in her friend Scott, he reeks of guilt as he assures Carla that nothing is going on. Writer and director Sam Cline set the scene in the audience, with the whole show unfolding from the back row. Cline added a creative spin on the classic boyfriend-cheating-with-your-best-friend trope. Though the skit would benefit from more character depth and higher stakes, actors Owen Starling and Sarah McInnis’ dialogue flowed naturally. Their performances were solid and entertaining.
In Colin Hutchinson’s Departure, the scene was set in an airport where an anxious Matthew, played by Willow Warris, prepares to fly across the country for an AI ad campaign with his boss Charlie, played by Gabe Sutherland. The two meet Kristin, played by Ellie Hutchinson, a go-with-the-flow ChatGPT enthusiast. Through their conversation, Matthew realizes he needs to move on to a job he truly loves, even if that means giving up having the world’s chillest boss. Hutchinson’s writing was as witty as ever, offering insight on current events while simultaneously poking fun at the more comedic (but still pressing) issue of people doing weird stuff at the airport.
Rose-Coloured Flags by Tayden Murray followed a date night between film students Noah and Iris. Played by Hallie Blatch and Alison Morse, the two attempt to have a romantic dinner that is constantly interrupted by Noah’s ex, Orion, played by Mack Tapp. As Orion attempts to warn Noah of Iris’ intentions, Noah is stuck wondering who to believe. With such a character-driven plot, this play would have benefitted from more chemistry between actors. After watching this cautionary tale, we still have no idea who was telling the truth, but one thing is for certain: poor Noah.
Enjoyers of Frankenstein-esque gothic fiction would love Just a Mouth. Elliot Fader’s writing and direction enticed the audience, bringing them into a dark world of death, full of moral ambiguity. The play creatively questioned the meaning of God and virtue, while building high stakes and complex relationships. Though the characters could have gone without the accents, the execution was excellent overall. Ella Ripley gave a standout performance as Pierre Dupois, and the ensemble had a strong stage presence. The lighting, set and costumes were all excellent.
Finally, Alouette, written by Abigail Mcghie and directed by Wren Jarek-Simard, was as charming as it was chilling. The play explored the idea of marriage through a loveless couple, played by Chloe Rockwell-Macleod and Jack Mastrianni, who can’t seem to let the other go. The narrative blossomed naturally through colourful monologues and charismatic dialogues that uncovered hidden tensions. The chemistry and writing came together to make Alouette a standout performance.
