In a career spanning more than 30 years, David has played some of the most coveted and demanding roles in Shakespeare’s canon, including Hamlet (twice), Iago (twice), Petruccio (three times), Macbeth, and Shylock, as well as roles in Much Ado About Nothing, Coriolanus, The Comedy of Errors, Romeo & Juliet, As You Like It, Twelfth Night, Pericles, Troilus & Cressida, and Love’s Labours Lost. He has also performed works by Shakespeare’s contemporaries Fletcher and Marlowe, including the title roles in Doctor Faustus and The Tamer Tamed.
Online, in quarantine, he has played Earl of Worcester in Henry IV Part One, Lord Chief Justice in Henry IV Part Two, Master Ford in The Merry Wives of Windsor, and Chorus & Archbishop of Canterbury in Henry V. He has directed and/or performed Shakespeare in Australia, Mexico, South Korea, and on the stage of Shakespeare’s Globe in London, where he was part of the 2015 International Actors Fellowship. He is a founding member of the specialist multilingual Shakespearean performance company International Actors Ensemble, and currently produces and directs an ongoing series of semi-staged virtual readings of the complete works and other classics.
Belonging In Shakespeare
Many Actors, from seasoned professionals to aspirants, feel as though they don’t really belong is Shakespeare. The density of the language and the imagery, and the heightened reality of the plays’ worlds, can often create a block between the actor and their rich, satisfying immersion into Shakespeare’s universe. Still more actors feel trapped inside increasingly redundant expectations of how Shakespeare “should” be performed, often dictated by overly dry, academic approaches to the plays that are anti-theatrical almost by definition.
This 11 week intensive course, which culminates in a showcase performance of scenes and solos in front of an invited audience, is designed to demystify Shakespeare’s language, world, and performance tradition, and to focus on the essential humanity and the very raw human behaviours that sit behind and within Shakespeare’s “well culled, chose, sweet and apt” words. Using a detailed and uncompromising analysis of the language and an unpretentious approach to their performance, you will be encouraged to journey beyond stalwart efficiency and aspire to transcendence.
Showcase your new skills with a performance of scenes and solos, before an invited audience
Analyse The Language
We use a detailed and uncompromising analysis of the language and an unpretentious approach your performance
Focus on the essential humanity and raw human behaviours behind Shakespeare's words
As Hamlet in 'Hamlet' 1997
Hamlet (February 20-22)
Doctor Faustus (March 13-15)
Twelfth Night (March 27-29)
Troilus & Cressida (April 24-26)
Volpone or The Fox (May 15-16)
Sir Thomas More (May 29-31)
Measure for Measure (June 26-28)
Othello (July 24-26)
The Duchess of Malfi (August 14-16)
All’s Well That End’s Well (August 28-30)
King Lear (September 25-27)
Timon of Athens (October 23-25)
The Changeling (November 13-15)
MacBeth (November 27-29)
Even with the quarantine threatening to ease and live theatre venues edging ever closer to being reopened, the newly discovered artform that is virtual theatre – the new kid on the content distribution block – continues to expand, evolve, and captivate beyond its stopgap function during the so-called “Great Pause”. Circle in the Sand, the Melbourne specialist classical theatre company, is resolved to continue exploring, evolving, and mastering this freshly minted performance discipline.
Now that they have completed their massively ambitious online season of Shakespeare’s complete and uncut nine-play history cycle, AGE OF CROWNS, Circle in the Sand, in collaboration with the International Actors Ensemble and Melbourne’s Alex Theatre, will continue their chronological journey through Shakespeare’s entire body of work with a full roster of no fewer than 14 full virtual productions in 2021. In addition to the 10 plays that represent the fertile, iconic middle period of Shakespeare’s output – including the so-called “big four” tragedies that are HAMLET, OTHELLO, KING LEAR, and MACBETH – they will also present four seminal works by some of Shakespeare’s most celebrated contemporaries – DOCTOR FAUSTUS (Christopher Marlowe), VOLPONE, or THE FOX (Ben Jonson), THE DUCHESS OF MALFI (John Webster), and THE CHANGELING (Thomas Middleton & William Rowley).
These 14 fully staged virtual productions will be streamed live online and will feature international casts contributing in real time from locations in Australasia, UK, Europe, and North & South America – with performances staggered across three days to allow each time zone a chance to see at least one performance at a reasonable time of day.