Tag Archives: Etta Murfitt

Wise Children

reviewed at the Cambridge Arts Theatre on 20 November

Emma Rice’s new company, named for this launch production, has something of the quirkiness which one associates with her previous nest at Kneehigh. It’s a bold, multi-disciplined stage adaptation of Wise Children, Angela Carter’s last novel, and has a suitably exploited show-business background.

The kernel of the story centres on twin sisters, Dora and Nora. They are possibly the fruit of a one-night stand by actor-manager Melchior Hazard  (himself a scion of a sequence of such theatrical demigods) and a music-hall artiste. From the beginning we are made aware of the geographical and genre hierarchy of early 20th century entertainment.

Rice’s production uses Lyndie Wright’s puppets to represent these infant daughters, and later their putative cousins who may have been fathered by Melchior’s brother Peregrine. Adult Dora and Nora act as a species of chorus as the story unravels, played engagingly by Gareth Snook and Etta Murfitt.

As sub-teenagers, brought up by their grandmother Chance (Katy Owen), they are played by Bettrys Jones and Mirabelle Gremaud and later – in their stunning showgirl manifestation by Melissa James and Omari Douglas. Murfitt’s choreography fits the mood and period before us in perfect harmony with musical director Ian Ross’ pot-pourri score.

The younger Melchior is played by Ankur Bahl, who ages into Paul Hunter. Young Peregrine is Sam Archer, maturing (?) into Mike Shepherd. Patrycja Kujawska is Lady Atalanta, Melchior’s well-heeled, well-connected bride of his later years. The on-stage band is supplemented by the actors’ own instrumental as well as vocal contributions.

Yes, if you haven’t read the book, it does at first seem very complicated – a succession of music-hall sketches. Then the sheer theatricality of the presentation, like a succession of finely-executed transformation scenes draws us into its own slightly off-kilter world. Vicki Mortimer’s set and Malcolm Rippeth’s lighting aid the journey enormously.

Theatre – whether minimal or elaborate, bare boards and scarce a fistful of actors or backed by a lavish budget and a cast of thousands – is designed to draw us into another world. That can be realistically represented or symbolically suggested. In the end, it doesn’t really matter. What does is its effect.

Wise Children (the company) has given itself something to live up to. That should be fun to watch.

Four and a half star rating.

Wise Children runs at the Cambridge Arts Theatre until 24 November with matinées on 22 and 24 November.

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Filed under Ballet and dance, Music Music theatre & opera, Plays, Reviews 2018

Cinderella

reviewed at the Theatre Royal, Norwich on 27 February

The essence of a fairy-tale is that it has neither time nor roots to ground it. So Matthew Bourne’s riff on Cinderella takes place not n 16th century Germany, nor early 18th century France, nor even the early 19th century of Rossini’s opera but London during the Blitz.

Bourne and Etta Murfitt keep the basic elements of the story – the daughter turned into a drudge by her father’s second wife and her children, the intervention of a quasi-supernatural force to bring her to the man who will marry her – but translates the family and the price into characters we recognise from the classic iconic films dealing with the Second World War.

Prokofiev’s score has been prerecorded and transformed into surround sound (Paul Groothuis and Brett Morris) as at the cinema. The colour palette used by Lez Brotherston (set and costumes) and by Neil Austin (lighting) and Duncan McLean (projections) is predominantly monochrome.

The cast I saw is led by Ashley Shaw as Cinderella, Liam Mower as the silver-clad Angel who guards and guides her – and will go on once the happy ending is achieved to work magic for another disconsolate soul – and Dominic North as the wounded pilot Harry.

Fine characterisations also come from Dan Wright as the foot-fetish stepbrother and Mark Samaras as his youngest brother. Madelaine Brennan’s Stepmother, drink- and man-obsessed with a protective attitude to her own brood that leads her down increasingly nasty paths, is equally eye-riveting.

Shaw, both as the drudge and the beautiful young woman has the measure of the turns and lifts Bourne gives her which echo the angularities of the score. it is a cast which acts as well as dances, well demonstrated by North, Brennan and Mower. 70-odd years ago is for most of us an era vanished into smoke. But what else is a fairy-tale, even an adult one?

Four and a half-star rating.

Cinderella continues at the Theatre Royal, Norwich until 3 March with matinées on 1 and 3 March.

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Filed under Ballet and dance, Reviews 2018