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Camden Fringe 2023
A queer retelling that has potential, but currently feels like a work in progress.Summary
Rating
Ok
The Machiavelli Project is a play with music that delves into the history of the legendary Florentine Republic Official. Historically, Niccolò Machiavelli is renowned for being an author, diplomat, philosopher and historian in the Renaissance period, though in this production he takes on a new look and is perceived to be retrospectively queer in his relationships and perception of self.
The set for this show is minimal, only using what it needs to carry the plot, which for a venue like Etcetera works well, as much more would clutter the small space. What really excels in this environment are the costumes, which are signifiers of power dynamics and period but also aid in the queer retelling as they are eccentric and offer connection with the modern world.
Writer Oakley Swinson takes on the starring role as Machiavelli. Being a trans artist in her own right, this interesting deep dive into history becomes layered with nuance and assumptions around Machiavelli’s questioning of gender and sexuality. When the play is in full swing, this is clearly its underlying theme, but it could have been more overtly approached within the otherwise heavily historic writing.
The writing is almost poetic, beautifully echoing Machiavelli’s artistic background and makes listening easy, as the dialogue is performed almost like spoken-word. However, the scenes made up of this writing feel limited in their journey; there are not enough peaks and troughs to be completely engaged within.
Additionally, it is not always clear where the locations within the play are. My favourite moment, however, is when the setting is a room above an inn, reflecting Etcetera Theatre’s position, as this feels like an appropriate reason for choosing the venue.
The story seems to be from the character Barbara Salutatti’s (Merlin Stevens) perspective, as she writes a play about Machiavelli’s life throughout, framing the performance. This becomes muddled within the stream of consciousness writing, which projects historical facts mixed with perspective shifts. From Salutatti’s point of view, the play seems to be about feminism, and breaking the boundaries and confines of being a man’s wife. This is an interesting and valid point to make when expressing historical stories, but in this show it feels like it adds another level to an already many layered cake. Perhaps choosing a singular person’s perspective throughout would make this cake easier to sink your teeth into.
Arden Fitzroy is the comedic relief of the show, with their portrayal of the Pope’s son, Cesare Borgia. This absurd character, who is plagued with arrogant and sometimes incestuous thoughts, delivers the irony and sarcasm that the play is otherwise missing. These moments of comedy are where the play thrives, and could be explored more in other scenes and other characters, to really drive the purpose.
The musical elements of the production feels somewhat forced; not fitting with everything else. Music is used to frame the show, seemingly to reflect Machiavelli’s known creativeness, though this choice feels like an unnecessary addition and on the night did not feel entirely rehearsed.
Directed by Attrix Cragnotti, this play feels like it was originally intended for a bigger venue as movements feel uncomfortable within the limited space. With more rehearsal and consideration of the small black box venue, the play could easily be more palatable.
Overall The Machiavelli Project has potential to be an interesting queer re-examination of an historical figure, but its purpose and choices need to be more explicitly explored.
Written by Oakley Swinson
Music and Lyrics by Merlin Stevens
Directed by Attrix Cragnotti
Produced by Merlin Stevens and Arden Fitzroy for Achy Bits Productions
The Machiavelli Project plays at Etcetera Theatre until18 August as part of the Camden Fringe. Further information and bookings can be found here.
