theater in der hoffnung (italy) 

Shakespeare for Schools

David Ritchie
Gertraud Ingeborg

directed by
Scarlett Ritchie

March 2013, am and pm with discussion afterwards

02 9357 6853


Gertraud Ingeborg Biography

Gertraud Ingeborg has been working as a producer since 1982, when she founded Harlos Productions. She’s also a director and actress with many great roles to her credit, too numerous to list, including an appearance in Streetcar Named Desire (with Cate Blanchett, directed by Liv Ullmann, which toured Washington and New York).

Shakespeare for Schools

Shakespeare für die Oberschulen

Shakespeare per le scuole superiori

Scarlett Ritchie Biography

Scarlett graduated from Theatre Nepean in 2004 in Sydney.  Her final credits were Julius Caesar (directed by Lee Lewis) and Pentecost (directed by Anthony Skuse). 

She has worked in theatre production in both South Africa and London.  In 2009 she Assistant Directed a production of Twelfth Night at the Sydney Theatre School and recently played Frankenstein’s Bride in a ten minute adaptation of Frankenstein for Short and Sweet, the worlds largest short play festival.

In 2006 and 2007 Scarlett doubled Cordelia/Oswald in consecutive productions of King Lear by Harlos Productions.  She continued her working relationship with Harlos in Hamlet, playing Ophelia for them in both 2009 and 2010.

David Ritchie Biography

Theatre: Hamlet (dir. & Claudius), King Lear (Lear), A Midsummer Night’s Dream (Aegeus & Quince), Titus Andronicus (Titus), Othello (Iago), Tattoo, The Man Who, The Unexpected Man, Europeans, Ritter, Dene, Voss, Young Tycoons, The Doglogs. Film: Wolverine, Multiple Choice, Disgrace (3 awards), I Am Not Someone Else, Beneath Hill 60. Television: All Saints MRU, Chandon Pictures, Stupid Stupid Man, Out of the Blue, White Collar/Blue & Major Crime East West. Voice Work: Recently Puyi, The Last Emperor of China, which he narrated, won the Gold Medal in Toronto for Best Documentary. He has worked for the ABC, BBC, Discovery Channel, National Geographic, ZDF, NPR. Channel 4, & NHK, among others.  David is the male voice in The Lyric Voice – the innovative & highly acclaimed 15 ep. programme, devised & produced by Phil Carrick, featuring literature from 1400 to yesterday, which was twice aired nationally on ABC Classic FM in 2008. Another series is planned this year by popular demand.


The protagonists in the packed Theatre am Hof behind Bolzano’s fruit market were that great dramatist and two excellent actors.

As at that time at the Globe itself, or else in the markets, stage and auditorium were separate, and yet the action extended into the audience, allowing the tragedy of ‘abused piety’ to unfold in all its vitality and nuanced potential. The English dramatist had long anticipated ‘Dramatic Empathy’ in Lessing’s sense, and the audience was treated to an engaging, resonant and moving performance. It was a passionate and moving spectacle of the all-too-human struggle to undo ‘what cannot be undone’ – to recall the irrevocable.

This 50-minute version of King Lear was ingeniously cut and edited by renowned actors David Ritchie and Gertraud Ingeborg, and directed by Scarlett Ritchie, especially for South Tyrolean students of English. Nevertheless it avoided the potential trap of being merely a flat and banal litany of ‘what happens’.

And those who respond to ‘action’ were rewarded too: three kimonos bordered the stage and showed how articulate theatre can be: they illuminated everything required. The two players were equally adept at presenting proud and despairing illusion, malice and the utmost cruelty, as well as loyalty and self-sacrifice unto death; they enlivened a perfect cut which moved through every escalation and sounded every intolerable depth.

The staging had these actors transform themselves seemingly effortlessly from figure to figure, incorporating the most tender and the harshest of poses and gestures. And Shakespeare’s words echoed and purred and sang like an orchestra, and it was clear and pure and beautiful.

And all the figures of Lear came to life: the daughters and the mighty, the pitiless and those wounded unto death, the friend, the good Fool - and a shattered public.

‘Shakespeare and no End’ – that was Goethe’s conclusion as to the reception of this unparalleled dramatic poet. At the Theater im Hof the end was sociable: the audience was unwilling to tear itself away and the actors happily mingled with the public, willingly sharing their experiences of Lear and of Shakespeare, of their professional development and their work for the students of South Tyrol.

And again the experience was complete.

(Translation, ‘Bolzano Broadsheet’)