Feeds:
Posts
Comments

Posts Tagged ‘Ian Kelsey’

Those of us who go to opera have long got used to radical directorial reinvention / reinterpretation. 2011 was a particularly bad year, with Terry Gilliam’s The Damnation of Faust (I asked ENO for my money back as I thougth I’d booked for Berlioz’ The Damnation of Faust – the composer uncredited in the marketing) followed by A Midsummer Night’s Dream relocated from a forest to a boy’s public school! It happens less in theatre – well, except with Shakespeare and other dead writers who can’t answer back – and even less in  musicals. In this case, though, it seems composer Stephen Schwartz hasn’t objected, though I’m not sure he’s seen it!

Director Mitch Sebastian’s ‘big idea’ is to turn it into a video game, which actually isn’t a bad idea. I didn’t think much of this early Schwartz show when I first saw it at the Bridewell Theatre 13 years ago (he went on to write Godspell and Wicked – come to think of it, I don’t think much of those either) so I was up for a radical reinvention / reinterpretation. The production is probably the most visually in-your-face I’ve ever seen. After you enter through the game-player’s bedroom, the stage seems to take up more space than you thought the Menier had and you have to use all of your peripheral vision – and move your head back and fore as if you’re watching a tennis match from the net – to take in as much of the 180 degree staging as you can (it’s impossible to take it all in). The projections by Timothy Bird, often interacting with the performers, are simply extrordinary.

The story concerns the son of Emperor Charles (Charlemagne), his second wife Fastrada, son Pippin and step-son Lewis and in particular to Pippin’s search for purpose and meaning. The problem is the production is a complete mismatch with the predominent musical style (70’s pop-rock) and the story’s period (9th century France) so it’s littered with uncomfortable anachronisms, jarrs frequently and just doesn’t work – and it confirms the view that it isn’t a particularly good show. I have to say though that I have much admiration for the craftsmanship – it’s extraordinarily slick as you move from one open-mouthed moment to another, and another….

Matt Rawle has great presence and a great voice as the Leading Player (another narrator role to follow his Che in the recent revival of Evita). Ian Kelsey and Frances Ruffelle are very good as the king and queen, as is David Page as the step-son, despite the S&M nature of their costumes! Harry Hepple pulls off the difficult transition from naivety to defiance and back to naivety as Pippin. Louise Gold provides a lovely one-song cameo as grandmother Berthe but the introducion of the role seems completely pointless and the song (with audience participation, complete with panto songsheet!) feels like it popped in from the panto down the road for added seasonality. The musical standards are much higher than the quality of the music and Tom Kelly’s band is good, if somewhat loud for such a small venue – this adds to the feeling that you are being bashed over the head relentlessly to compensate for the mediocre material.

I admire the attempt to breathe new life into an ify show, but have to report that for me it failed – and found me asking the same question I’ve asked a few times recently – what on earth is happening to the Menier?

Read Full Post »