After three years of dedicated development, The Parsifal Project premiered at The Living Arts Centre, Mount Barker Waldorf School, offering a compelling reimagining of Wolfram von Eschenbach’s Parzival and Wagner’s Parsifal, infused with the spirituality and storytelling traditions of Australia’s First Nations peoples. UK playwright Peter Oswald’s script, directed by Jo-anne Sarre, presents the tale through the eyes of women, exploring themes of spiritual enlightenment, personal transformation, earth regeneration, and community connection.
The evening opened with a Welcome to Country by David Booth, whose use of the yidaki and clapsticks immediately grounded the performance in a deep reverence for land and spirit. This theme wove seamlessly through the entire production, enhanced by Booth’s projected images, live music, and the striking integration of movement and voice.
The story began with the death of Parsifal’s father, seen behind a scrim. Young Herzeloyde (Brianna Harris), singing a cappella, introduced us to a mother fiercely determined to protect her son from the dangers of the world. Her performance was beautifully pitched both emotionally and vocally, setting the tone for a journey where spirit and earth would walk hand in hand.
The cast was exceptional. Antoine Jelk fully inhabited Parsifal’s transformation from naïve fool to wise seeker. His physicality, particularly during moments of inner torment, was compelling. Penelope Snowdon Lait as Cundrie — the horned spirit guide and “lonely woman” of Arthur’s court — showed immense depth. Her transitions between caring guide, fierce critic, and eventual celebrant of Parsifal’s growth were superbly handled.
The narrative unfolds not just through Parsifal’s eyes but through the women around him — a powerful reinterpretation. Seven earthly and spiritual sisters – Cundrie (Penelope Snowdon Lait), Sigune (Grace Ames), Condwiramurs (Soodeh Samiepour), Jeschute (RubinA), Cunneware (Brianna Harris and Rebecca Debski), Guinevere (Sarah Lohrey), and Repanse de Schoye (Elisa Ehmann) – are there to protect and guide him, rather than shield him from experience. Each, embodying different aspects of love, wisdom, grief, and prophecy, gave shape to Parsifal’s emotional landscape and were brilliantly portrayed. This interplay between the earthly and spiritual presences echoed the First Nations ethos of deep connection to land and spirit, linking the medieval story to contemporary truths about patience, resilience, and environmental stewardship. It beautifully underscored the interconnectedness between physical existence and spiritual life that lies at the heart of both traditions.
Several dramatic moments were particularly memorable. The tent scene between Parsifal and Jeschute (RubinA) was intimate and charged with tension, while the rage of Steward Kay (Om Vishal Patel) following Parsifal’s slaying of Ither brought a raw emotional energy to the court scenes. The fight choreography throughout was well executed. Sigune (Grace Ames), grieving behind the scrim, brought a deep emotional weight to her confrontations with Parsifal, her sorrow resonating through both her presence and voice. Meanwhile, Gawan (Caspian Helm) offered a compelling counterpoint to Parsifal’s early foolishness, portrayed with hawk-like wisdom and a noble restraint.
Musically, the original score was a triumph — capturing moods from solemnity to ecstasy — with only a rare moment where volume slightly overpowered dialogue. Overall, it elevated the production masterfully.
Throughout Act Two, the emotional and narrative jigsaw came together. For those unfamiliar with the original Parzival legend, including my companion, it was in the second half that the full scope of Parsifal’s journey became clear. Parsifal’s encounters with Orilus (Ipneet Singh), the proud yet flawed knight, Sigune (Grace Ames), his grieving cousin, and Jeschute (RubinA), the wife of Orilus, revealed the depth of his early failures in compassion and set the stage for his eventual redemption. Trevrizent (Damien Gilroy), the holy man and brother of Anfortas, delivered a powerful scene that steered Parsifal toward inner understanding. By the end, Parsifal had earned his wisdom through suffering, humility, and patience — “no path but patience” — in a way that felt urgently relevant to today’s world. The environmental thread — warnings about human brilliance and destruction, references to tides and Saturn, the women’s connection to earth and spirit — gave The Parsifal Project a stunning contemporary resonance.
The Parsifal Project was a work of extraordinary depth, artistry, and heart. Using choral speech, singing, narrative and eurythmy to tell the story. Eurythmy was woven throughout the production with varying impact. There were moments when it felt less essential, adding a layer that didn’t necessarily deepen the storytelling. However, at key points — such as when the deceased Herzeloyde (Anna Kotanidis) appeared in spirit to guide Parsifal toward the Grail, or when his wife Condwiramurs (Soodeh Samiepour) was present with him spiritually though not physically — the use of eurythmy was deeply effective, beautifully illustrating the unseen ties between the earthly and the spiritual worlds. Given the production’s performance at a Waldorf school, where eurythmy is integral to the philosophy of blending mind, body, and spirit, the movement added a fitting layer of unity to the work.
Visually and aurally, The Parsifal Project was a striking achievement. Paul Cleaver’s lighting design and use of the scrim was integral to the storytelling, guiding Parsifal’s journey with both subtle and powerful effects. His lighting choices were not just atmospheric but actively contributed to the narrative. Cleaver’s contributions extended beyond lighting; his set design and musical direction also played key roles in enriching the production. He also performed live alongside the other musicians on mandolin, recorder, and percussion, adding texture and depth to the score.
Sarah Lohrey’s puppet work, especially the magpie perched on the balcony, brought a delicate layer of symbolism to the production. It beautifully connected the natural world with the spiritual realm, reinforcing the themes of interconnectedness and omnipresence that ran throughout the piece. The costumes, were thoughtfully designed by Grace Ames, playing a key role in helping to distinguish each character. They enhanced the production’s visual storytelling, clearly signalling who each character was and underscoring their journey.
A defining theme of The Parsifal Project is its embodiment of interconnectedness. From the outset, the boundaries between performers, musicians, and audience dissolve. The musicians are not merely background players; they actively participate in the storytelling, singing as they play, seamlessly becoming part of the world of the show. The lights, sound, and even the audience are woven into this shared experience, with moments unfolding in the aisles and behind the audience, further drawing them into the narrative. This sense of unity and collaboration is emphasized by the ensemble nature of the production. Nearly every actor, apart from Parsifal, plays multiple roles and it is impossible to name everyone but there were no passengers.
The Parsifal Project honoured its medieval roots while offering a fresh, vital lens on how we journey through pain, healing, and reconnection — with spirit, with land, and with each other. With its rich blend of movement, speech chorus, clapping sticks, eurythmy, and live music, The Parsifal Project invites audiences to experience a truly multi-dimensional approach to storytelling, making it a must-see for anyone seeking a deeply immersive and thought-provoking theatre experience.
