The Lovely Bones: down to earth

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Northern Stage’s joint collaboration to bring Alice Sebold’s novel to the stage works wonders, with production values comparable to the West End, and without falling into special effects overkill that marred the film.

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It’s rare for regional theatre to try to take on the West End for production values. Even with Royal & Derngate, Birmingham Rep and Northern Stage and Liverpool Everyman & Playhouse joining forces, productions on the scale taken for granted in central London are a risky business unless you can be sure you’ll sell the tickets. So an adaptation massively successful novel of Alice Sebold is a pretty safe bet to draw in an audience – or is it?

The most well-known big-budget version of The Lovely Bones is the Peter Jackson film – and many people consider that a disappointment. The Peter Jackson film can maybe be described as a version of Ghost, but with 2009-level special effects instead of 1990-level special effects, but that arguably misses the point. Both stories involve a central character who is murdered (in Susie Salmon’s case, raped and murdered) who lives on in the afterlife, but beyond that two don’t have much in common. The driving theme in Ghost is a hero desperate to stop his killer before he harms anyone else he loves. That theme is also there in The Lovely Bones, but it’s not the main theme. And the supernatural that dominated Ghost are only incidental here, with Susie free to observe the world but near-powerless to intervene. No, the dominant narrative in the story is a family struggling to come to terms with the worst kind of bereavement in the years to come. It is this, I think, that this adaptation gets in a way that Peter Jackson’s didn’t. Peter Jackson relies on fancy effects to create Susie Salmon’s own personal heaven – in this play, her heaven is the world her family still live in, getting on with their lives the best they can. Continue reading

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Brighton Rock: Pilot Theatre shines again

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The one thing that sticks in my mind about Pilot Theatre more than anything is their striking sets. Directors and writers change, but the projections and running treadmill in The Loneliness of the Long-Distance Runner and the concrete flats in The Season Ticket have always stuck in my mind. So I was expecting something striking for Brighton Rock, but the choice, in retrospect, was the obvious one: Brighton Pier – or, more accurately the West Pier, back in the days when it was still a pier. The girder-themed West Pier is the better choice here, because, as Pilot Theatre plays always do, this set will be representing a lot of different locations around gang-ridden 1930s Brighton.

An early example of the set put to use is the chase. Fred, having fallen out of favour with his own gang, keeps moving, trying to stay where people are watching, and even attempts an impromptu courting of Ida. Alas, Ida is too slow to twig what’s really happening, and the minute she spends away from Fred to powder her nose is the minute his gang move in for the kill. With young Pinkie installing himself as the new leader, he then covers his tracks, but a careless mistake make by Spicer leaves a witness, a waitress called Rose. Pinkie opts to court her, and if necessary, marry her so she legally cannot testify against him.* By now, however, Pinkie is up against Ida, determined to make it up to Fred, and determined to protect innocent Rose. But does anyone know what Rose really wants? Continue reading