Review: The Herbal Bed

The Herbal Bed
New Theatre
Until 11 April
Tickets $22-$28
Bookings 1300 306 776


There’s a bit of mystery around William Shakespeare’s daughter, Susannah Hall, who took a young local boy from Stratford-upon-Avon to court for slandering her, alleging she had an affair with a local haberdasher.

It’s an event of historical interest which British playwright Peter Whelan uses as a vehicle to create a period piece attempting to tackle the moral dilemma around those little white (and not so white) lies.

They’re questions we ask ourselves every day: Do you ignore a lie for your own preservation and what affect does it have on those around us? And at what cost do you defend your honour and reputation. (Marcus Einfeld is the most recent scenario which comes to mind).

The Herbal Bed sees Susannah (Fiona Pepper) with her husband the local doctor (Keith Agius) trying to defend their reputation in the face of pub gossip that she has been alone with married man Rafe Smith (Jamie Irvine).

Taking the case to the church court, the local bishop (Dave Kirkham) is easily swayed but his assistant, Rev Barnabus Goche (David McLaughlin) is less willing to buy the story. He questions the key witness to the event, servant girl Hester (Gemma Yates-Round), who has been quietly encouraged to protect her mistress Susannah.

Director Sarah Giles and designer Renee Mulder gather an impressive cast with a production a black and austere design similar to that of Arthur Miller’s The Crucible. There are particularly strong performances that bring out the suspense set deep in the text - most especially during the court scene where Susannah, the doctor and Rafe unite to defend their honour in front of the quick minded Reverend Goche.

However, for a play so dependent on the lust of the flesh, it is surprising to see very little time in the text showing the attraction between the adulterers. At a period in history when slander and lies are measured against such religious fervour the stakes need to be much higher to justify the extraordinary choices made by Susanna and Rafe.

Agius certainly sets the standard with a performance that breathes a quiet desperation, but what's left unseen is the passion of the affair undermining him.

The set adds even more distance between the characters by placing furniture between them and limiting their interaction within the cavernous space of the New Theatre. Nevertheless, this is a interesting choice of play staged by the company with some promising signs of new talent emerging.