THE EMPEROR'S NEW MACHINE. To 22 April.
Birmingham
THE EMPEROR’S NEW MACHINE
devised by Moving Hands
Birmingham Rep Theatre (The Door) To 22 April 2006
Tue-Thu; Sat 11am & 1pm Fri 1pm & 5pm
Runs 1hr 10min No interval
TICKETS; 0121 2236 4455
www.birmingham-rep.co.uk
Review: Timothy Ramsden 13 April
Looks good, but this company could make more of its material.
A glance at the production credits below will give an idea of where the emphasis of Moving Hands Theatre Company’s show lies. A huge mechanism of cogs and wheels colourfully occupies the heights, chugging into action as Raph the loyal imperial rat manufactures the Emperor’s daily clothing to order, fitting whatever image the ruler wants for the day, as imaged on a screen. This gruff puppet, operated by Hands’ artistic director, is ever-willing but gets put out of place by the new technology.
For this is The Emperor’s New Clothes shot forward into the age of reality TV. Even the emperor is a fan of makeover programme ‘The Cookie and Crumble Show’. When it bursts into his life, via his wardrobe, the emperor’s in awe of ever-confident presenter Cookie, able to copy her signature words and gestures like – well, like an audience at young people’s theatre called on for a piece of audience participation (this duly follows).
Cookie contrasts public smiles with private scowls, being cruel off-camera to her fashion victims as she is to her sidekick Crumble, who faces the boot before the end. By then, seeing her own power threatened, Cookie’s responded with something of Andersen’s mystery tailor, creating a design for the Emperor’s big parade which only the stupid, lazy or ugly will fail to see.
A lot of themes are lying around here: the power of the media, fake and genuine friendship, bullying, pressure to conform – and, of course, visual colour and opportunities for humour. But a lot of it’s never picked up, though the show scores well enough on the last two. Vocally the performances are limited, especially in the case of John Flitcroft’s Emperor, where the greatest variety is called for. Playing the character as imperially dull and stupid throughout lessens the dramatic tension.
The company’s devising desperately needs enrichment. Simple ideas are presented rather than explored. If only the ingenuity that clearly went into the set and projections were there also in story and characterisation.
Crumble: Victoria Cannell
Cookie: Alison Carney
The Emperor: John Flitcroft
Raphael: Caroline McDowell
Director: Steve Johnstone
Designer: Caroline McDowell
Lighting: Jonathan Tritton
Projections/Animation: Lourina Jansen van Rensburg
Artist/Designer/Animated Characters: Marlin Vernon
Music: Gerry Smith
Costumes: Lorinda Spruyt, Debbie Williams
Machine Engineer: Mark O’Donovan
2006-04-17 21:55:44