Cameron has an actor with a particular passion for Shakespeare and classical storytelling. A graduate of Charles Sturt Universities Acting for Screen and Stage in 2003, he has continued to perform on stage and screen both locally and interstate. He has also completed both the Graduate and Advanced Learning Workshops for Bell Shakespeare. This will be Cameron’s ninth production by the the bard, William Shakespeare.
Recent productions have included:
Macbeth for Canberra Repertory Theatre, 2016, for which he received a Canberra Area Theatre Award for best actor in a featured role as MacDuff, A View from the Bridge for Canberra Repertory Theatre, 2017 War of the Worlds and Tourmaline for The Street Theatre, 2018
I’d previously been more interested in visual art before I became involved in dramatic art. Playing the role of Mercurio in Romeo and Juliet at 17 years old gave me an rare opportunity to explore the dynamics of human condition in a way that was like no other. It inspired my curiosity of how this role within this play could relate to my personal thoughts and feelings and what it means to take part in society.
Shakespeare’s works are an essential passion for my life and I find that as I grow and change in time, so does my understanding of the texts and it’s meanings and messages.
ON SHAKESPEARE BY THE LAKES
I have performed in Much Ado About Nothing in Wagga Wagga’s botanical gardens in 2002. I find that it does come with its own challenges and rewards as opposed to performing in a theatre.
Atmospherically you are at odds with the elements and it’s heat and cold. The unpredictability of moving cars and planes and other sounds. But at the same time there is an immersiveness to it that is like no other. The divide between audience and performer is much less stark and it feels as though everyone is more present and connected in the moment.
ON YOUR CHARACTER: SIR ANDREW AGUECHEEK
It has been a surprising and rewarding journey portraying the clown Sir Andrew Aguecheek. When initially conceived, this specific character may have been a satire of Sir Phillip Sydney, a nobleman of Queen Elizabeths court; however this contemptible buffoon provides a mirror to the insecurities and anxieties of attachment in the individual. One I trust Canberra audiences will recognise and enjoy in 2019.
It has been an unusual experience in that I hadn’t expected so much use of technology in the rehearsal room. It’s definitely something that puts me out of my comfort zone! But being open to new methods of working is essential to my growth as an actor in the 21st Century.
ON TWELFTH NIGHT
Twelfth Night is an old tradition mostly uncelebrated today where the servants of a household would assume the roles of their masters and vice versa. I think that the power relationships being inverted are key in understanding these conflicts. That is, who is the leader and whom is pursuing them? This is clearly relatable in modern relationships and made all the more interesting when the characters involved aren’t necessarily who they appear to be.
What You Will as an extension or alternate title of the speaks volumes to what relationships are comprised of. Each character has their own desire that they will not be compromised to, and yet compromise is essential in functional relationships. We may see that the lovers attach to the objects of their desires, but seldom are these connections with who they appear to be.
ON THE DIRECTOR
Chris has been a hero of mine since I saw him play Claudius in Hamlet. He has a very thorough understanding of the text and it is a pleasure to speak with and express his ideas to the production. Canberra is very lucky to have this opportunity with a legend in the field.
Sir Andrew Aguecheek