Faithful to the book, innovative to stage yet shunning electronic wizardry, Blackeyed Theatre’s take on Frankenstein outshines the multimedia extravaganzas.
Technology has transformed theatres. There was a time when the only way to get music of a decent sound quality was to bring your own orchestra along, a sound of a thunderstorm has to be done with complicated off-stage equipment, and lighting was a complicated affair only possible in the bigger theatres. Nowadays it’s possible to to achieve all this even in the smallest fringe theatre spaces. Such is the advance of technology it’s easy to forget there was once a great art to staging plays without electronic wizardry. Not a better way or a worse way, but something different.
But one group who doesn’t want to let this go is Blackeyed Theatre. This groups does a range of plays in a range of styles, but this particular brand first appeared in 2013 when a team led by director Eliot Giuralarocca did Dracula. It was a small-scale production with a cast of five and no sound effects other than what the actors produce on stage, and apart from one bit of over-ambitious doubling (that caused Van Hesling to have a fight with Dracula played by the same actor), it was a good production in a refreshing style. Now the same team is back with Frankenstein. They’re still faithful to the book, still using a small cast, and still have no sound other than what they’ve done a stage – but they’ve built on what they did in Dracula, and gone from a good adaptation to an outstanding one.
Continue reading “Frankenstein: a marvellous thing brought back to life”
(Prologue: Chris Neville-Smith sits as his computer, thinking that he really can’t be arsed to write two articles about two plays he’s already seen. “What I really need” he thinks, “is a contrived theme to connect the two together.” Suddenly, he realises they’re both set in schools. Problem solved.)
Who would be a secondary school teacher? Here you are, trying to help teenagers learn the stuff they ought to know unless they want to spend the next forty years in the beef caracass factory, and what do they do? Have a riot. And who would be a secondary school pupil? It’s like Lord of the Flies, but with thick oversized schoolboys in charge. The only consolation is that it gives teachers and pupils alike the chance to write plays about what schools are like.
So two plays that are doing to rounds now are Teechers and Donna Disco. Both plays are smash hits, and having seen them before I can vouch they are smash hits for a reason. I also had high expectations for the companies producing them. And so, in perhaps the least surprising turn of events in the history of the blog, both productions were exactly as good as I was expecting. I won’t give a detailed appraisal of the plays as they’re already getting praise from pretty every Tom, Dick and Harry, but I’ll give a quick run-down. Continue reading “Teechers and Donna Disco”
Dracula is the last story you’d expect to be workable as a five-hander play – but John Ginman’s adaptation just about pulls it off.
For some reason, famous novels seem to be particularly prone to bad adaptations, on both stage and screen, at least amongst the ones I’ve seen. Of course, most novels are too long and detailed to fit into a play or film without substantial cuts, and it’s not always easy to make the right choice, but most of the time the butchering is inexcusable. There’s the predictable commercially-motivated interference such as inserting an unnecessary/inappropriate love interest, or dumbing down the plot to keep it understandable to the audience of idiots that only exist in the minds of the marketing department. But most irritating of all is changing substantial bits of the story for no apparent reason, even if they bit they cut was perfectly workable on stage or screen – I can only imagine these adaptation writers think they’re making it better.
So it was with some caution that I ventured to Harrogate to see a new stage adaptation of Bram Stoker’s Dracula. The novel needs no introduction; the adaptation is a new one from Blackeyed Theatre on its first run. Adaptation writer John Ginman does not, thank goodness, attempt to impose pointless changes to the plot, but he did take a couple of decision that were a bit of a surprise. One might assume that an effective adaptation of the famous Gothic horror story would need elaborate sound design to make the play suitably atmospheric, and a large cast to accommodate the multitude of characters in the books. This play, does neither. There are no sound effects other than what the actors produce on stage, in a nod to how things were done in Victorian days. More importantly, by either boldness or recklessness, the cast is just five. That’s tiny for a novel of this complexity and much less than most adaptation. It is, if you like, the “fun-size” version of Dracula adaptations.
But whilst “fun-size” usually code for “disappointingly small” in chocolate, this adaptation is anything but disappointing. Blackeyed Theatre is not, as one might assume, a small-scale production economising on cast and technicians for touring purposes, but a well-established group with a large creative team behind it – and the small scale of the production is used as a strength rather than a weakness. The sound was produced entirely on stage, using singing, instrument, bells, and other things to produce something just as atmospheric as sound effects. And why not? This was, after all, how sound was done before there were loudspeakers.
Continue reading “Fun-size Dracula”