Tag Archives: Paule Constable

The Curious Incident of the Dog in the Night-time

reviewed at the Cliffs Pavilion, Southend on 18 July

Mark Haddon’s book about a teenage boy with Asperger Syndrome has been adapted for the stage by Simon Stephens. The National Theatre production by Marianne Elliott is currently on the second leg of its UK tour. Elliott may be the director, but Bunny Christie’s graph-paper design concentrated on a cube, Paule Constable’s complex lighting plot and Finn Ross’ video certainly don’t take second billing.

It’s not a comfortable story. Christopher Boone (Scott Reid), caught in a neighbour’s garden with the pitchforked body of her dog, is a central character with whom at first we struggle to find any degree of empathy, just as his parents and those around him do. If you’ve ever had anything to do with a friend or family member with autism, you will find yourself in familiar territory.

Reid’s portrait of a brilliant, logical and gifted mathematical youth trapped in a world whose lack of sequential reasoning seems so incomprehensible to him is a searing one. Siobhan (Lucianne McEvoy), one of his teachers,  comes closest to understanding his wavelength; McEvoy’s study of a woman who tries to comprehend – and to accept – is equally fine.

The other three main characters are Mrs Alexander (Debra Michaels), an elderly neighbour  who doesn’t condemn Chris out-of-hand, his uncomprehending father Ed (David Michaels) and Judy (Emma Beattie), the mother he was told had died but in fact who left her husband for a lover, Roger Shears. There is also a large ensemble.

Movement is an important part of this hypnotic production. Scott Graham and Steven Hoggett use the players in angular, often formal, groupings which echo Chris’ inner turmoil. This is a staging where what we hear – spoken dialogue apart – chimes in with the movement; Adrian Sutton’s score and Ian Dickinson’s sound design provides this. It’s akin to the incidental music familiar from films and, increasingly, television drams and documentaries.

What matters in the end is that it’s Christopher’s story, seen largely through his eyes and filtered through his off-kilter mental processes. Stand ing ovations are becoming a bit of a curtain-call cliché these days. The one for Reid (and, by inference, for the whole staging concept) was thoroughly merited.

Five star rating.

The Curious Incident of the Dog in the Night-time runs at the Cliffs Pavilion, Southend until 22 July with matinées on 19 and 22 July.

 

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Filed under Plays, Reviews 2017

The Red Shoes
reviewed in Norwich on 21 February

Seeing the Powell-Pressburger film The Red Shoes for the first time (for me that was in 1949) is, as the programme notes for this Matthew Bourne danced adaptation emphasise, something of a defining mark for anyone with an interest in ballet as well as the cinema.

Bourne keeps to the film story but adds some subtle hommage to the choreography of, among others, Fokine (Les Sylphides), Massine (Beach) and Cranko (The Lady and the Fool) in the episodes featuring the ecclectic repertoire of the déraciné company run so autocratically by Lermontov (Sam Archer).

There are nice humorous touches, notably when the soon to be supplanted prima ballerina Irina (Michela Meazza) and her posturing partner Ivan (Liam Mower) monopolise an over-worked and under-staffed stage crew in order to ensure that their follow-spots for Les Sylphides are becomingly bright and accurate.

Such characterisations are neatly pointed by all the dancers. It’s great fun picking up the in-jokes, such as the Wilson and Keppel sand dance and the music-hall girls’ abundance of slightly moulting feathers – but you lose nothing if you just take it as it unfolds.

Archer radiates the certainties of a man who has no time to waste on anything which isn’t for the good of his company and even more importantly, his vision for how it should be. So he recruits struggling composer Julius Craster (Dominic North) but reacts violently when Craster and his latest protegée Victoria Page (Ashley Shaw) fall in love.

Emotion is the enemy of art, Archer maintains; which was basically Diaghilev’s reaction to Nijinsky’s doomed marriage to Romola de Pulszky. The irony is, of course, that Lermontov is strongly attracted to Victoria. Glen Graham’s ballet-master and character dancer Grischa can foresee disaster looming; his tempter in the actual Red Shoes ballet sequence plays out both sides of the scenario.

There’s great fluidity as well as style in Bourne’s choeography, both in the ensemble dances and the mre formal pas de deux. The settings by Lez Brotherston take us effortlessly from front of stage to back-stage, from the luxury of Monte Carlo and a Mayfair salon to East End music-hall and garret lodgings – and swirl us in between through a surreal world which is neither realistic stage set nor pure abstraction.

This is a show where the lighting matters; Paule Constable achieves this superbly. The story is multi-layered and the choreography and visuals mirror this in perfect synchrony. The pre-recorded score has been arranged by Terry Davies from the film and concert music of Bernard Herrmann. It’s an evening whee a story and how it’s told balance perfectly.

Four and a half-star rating.

The Red Shoes is at the Theatre Royal, Norwich until 25 February with matinées on 23 an 25 February. The national tour continues until 22 July, including Curve, Leicester between 16 and 20 May.

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Filed under Ballet dance & mime, Reviews 2017