Archived

The Dance
of Death

By August Strindberg
Director Judy Davis
  • Venue Upstairs Theatre
  • Dates 10 November – 23 December 2018
  • Duration Approx. 2 hours & 10 mins inc. interval *

An isolated home on a lonely island. A marriage. Alice and Edgar aren’t popular, and they’re not particularly happy. In fact, they loathe each other, and have done for 25 years. Their mutual antipathy is blackly hilarious and seems to have its own equilibrium.

Into this duet of recrimination and resentment comes Kurt, Alice’s younger cousin. Kurt has a grudge against Edgar that goes way back. Alice senses a lever to gain the upper hand. Edgar is an old soldier, though; he knows how to keep his feet. And so the dance begins, a whirl around the stage until it’s hard to know who’s dancing with whom.

Judy Davis directs Colin Friels, Pamela Rabe and Toby Schmitz in one of the best theatrical marriage battles ever written. We can’t wait.

Supported by the Chair’s Circle

* This running time is an estimate only. Please check again closer to opening night for updates.

Warning: This production contains gunshots, strobe lighting, the use of herbal cigarettes, nudity, and strong language.

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Toby Schmitz, Colin Friels & Pamela Rabe. Photo by Daniel Boud.

Team

By August Strindberg
Director Judy Davis
Literal translation May-Brit Akerholt
Set Designer Brian Thomson
Lighting Designer Matthew Scott
Choreographer Thomas Egan
Fight Coordinator Nigel Poulton
Composer & Sound Designer Paul Charlier
Production Manager Ren Kenward
Stage Managers Luke McGettigan, Natalie Moir
Assistant Stage Manager Khym Scott

Cast

Colin Friels
Pamela Rabe
Toby Schmitz
Giorgia Avery

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Rehearsal images by Brett Boardman
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Production images by Lisa Tomasetti
  • Podcast

    Director Judy Davis and cast members Colin Friels, Pamela Rabe and Toby Schmitz discuss Strindberg’s explosive play and the infinite complexity of the marriage it dissects.

  • Belvoir Briefing

    Artistic Director Eamon Flack is joined by the creatives of Dance of Death to discuss the project’s inception and the enduring power of Strindberg’s 1900 play.

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