So now that I finally have the time to do this, I intend to do a big catch-up on my reviews. Now, the festival fringe and the West End may have hit the ground running in the spring and summer, but most regional theatres played it safe and waited for the autumn. However, there was a bit of theatre activity in the regions, and a lot of it was focused on outdoor performances. Although there was never a point in 2021 where outdoor theatre was permitted but indoor wasn’t, those performances in 2020 that went ahead outdoors did quite well and for some the idea stuck.
A lot of the outdoor performances happened at the Festival Fringes, particularly Brighton – those I am covering in their respective roundups. But apart from that, there were two performances that particularly caught my eye.
The John Godber Company has been one of the most determined companies to perform on in any way they can, although it’s fair to say they were at a bit of an advantage here. With the Godber family themselves taking on so many roles over the years, it was an easy matter to put on a family event with Sunny Side Up. I would like to have told you about that, but the performances were very popular and sold out quickly. However, not all John Godber performances are family affairs, at to get back into the swing of things this year, they put on one of their largest productions to date at Hull Marina.
The first thing I will say is how much I love the venue. Stage @ The Dock came about from a regeneration of the Marina and presumably came about in part from Hull as 2017 City of Culture. Obviously it’s at the mercy of the weather, but on a balmy evening it’s a great place to see an outdoor-set play. With the John Godber Company having helped bring this space into the spotlight, I hope it’s not forgotten about now that indoor theatre has got going again.
For once, a John Godber Company play features writing from someone other than a Godber, for this is a collaboration with Nick Lane, who is writing most of Blackeyed Theatre’s current plays as well as many of the Stephen Joseph Theatre’s Christmas plays. The challenge of most adaptations is choosing what to keep in and what to leave out: with the exception of the shortest of short stories, it’s near-impossible to stick to original plot point by point and hope to be done in two hours – and certainly not Herman Mellville’s epic of a book. The best focus I think you can put on a stage version of Moby Dick is the suicidally dangerous obsession of Captain Ahab – and that’s precisely what is done here.
Already a surefire hit for a New Vic Christmas production, the re-instatement of one historical character is a show-stealer.
Before everything got interrupted by the event, I had a a backlog of reviews, which I decided to clear as and when the respective theatres starting moving back to life. First off the mark is the New Vic, so let’s catch up on their Christmas production back in January. Before The Event. (Remember, don’t think about The Event.)
This is common knowledge to the New Vic regulars, but for the rest of my followers, the New Vic has one of the most lucrative Christmas seasons around. Whilst most pantos will settle for a run of six weeks or so, the New Vic runs for almost three months, due in a large part to attracting every school in Staffordshire (more or less). And with good reason too: artistic director Theresa Heskins has made this one of her top specialities. Last year’s Wind in the Willows showed what she is capable of producing (made even more impressive by a minor ensemble actor standing in for Mr. Toad at the last moment and making it look like the part had been written for him all along), and this year it’s the turn of the classic tale The Prince and the Pauper.
Mark Twain, best known for Tom Sawyer and Huckleberry Finn, wrote this tale as a foray into “historical fiction” with his fictionalised story of boy king Edward VI and a street child he trades places with. However, being American, Mr Twain wasn’t that clued up on British Tudor history, whilst on this side of the pond every child has Divorced Behead Died etc. drilled in history lessons. As a result, some of the historical characters are people who we Brits neither recognise nor care about, whilst some better-known figures don’t really feature – and this is where Theresa Heskins takes the opportunity to make her mark. Out go a few stuffy Palace officials, and in come Princesses Mary and Elizabeth – and it’s future Mary who steals the show.
Apologies to everyone who’s been waiting on reviews – I have been directing a play which just went insane with its workload, and I’ve had little time for anything else. But I’ve finally got this out of the way, and I’ve manage to upgrade sanity level up from “gibbering wreck” to “slightly less gibbering wreck”. So now’s as good a time as any to catch up, in a sort-of chronological order.
So, in early July, I caught two plays in the round as part of a round trip involving the Buxton Fringe launch, a visit to a sister and a photo stop in the Pennines. Both were high-profile shows and both are revivals, so there’s little need for me to give either constructive advice or encourage people to come along, but here’s my verdicts nonetheless.
Around the World in 80 Days
Jules Verne’s famous circumnavigation-themed novel is a tough to to adapt faithfully. So detailed is the story that it’s next to impossible to capture the train-by-train-by-boat-by-train-by-elephant etc. epic in that level of detail. In fact, one of the biggest oddities is that some people consider the most accurate adaptation to be the 1980s children’s series Around the World with Willy Fogg. Even though all the characters are animals and they introduced extra characters such as the sneaky master of disguise wolf Transfer who tries and fails to sabotage the journey every episode, the 26-episode format meant the whole journey could be captured very faithfully. But this is theatre, where you have two and a bit hours, trains and boats on stage are not an option, and getting a lion to play Mr. Fogg is unworkable for several reasons. Continue reading →