THE FIREWORK-MAKER'S DAUGHTER. To 5 April.
Sheffield
THE FIREWORK-MAKER'S DAUGHTER
by Philip Pullman adapted by Stephen Russell
Crucible Theatre To 5 April 2003
Tue-Sat 7.30pm Mat 26,29 March,2,5 April 2.30pm
Audio-described/Touch Tour 29 March 2.30pm
BSL Signed 27 March
Runs 2hr 25min One interval
TICKETS: 0114 249 6000
www.sheffieldtheatres.co.uk
Review: Timothy Ramsden 22 March
A fizzing whizz-bang display of theatrical story-telling.Seeing that English education is so systematised in other respects, it's a shame there's no programme for exposing young people to theatre from their earliest years. If there were, this production would surely find a place, with its sophisticated economy of storytelling and abundance of imaginative ideas.
It is a tale told by an idiot, full of sound, light, fun and fury – signifying a lot. At heart it's a quest: lonely, determined and character-maturing for young Lila. She starts out determined to prove herself a worthy successor to her father's trade and ends up in a desperate bid to save his life.
She meets a slightly threatening criminal gang - led by Paul Hunter's entrepreneur. He has such a wide-eyed vision of 'million rupee' business notions it takes all the magic of theatre to keep him out of the bankruptcy courts. But Lila soon leaves for dangerous volcanic regions, searching for the Fire-god and his secret ingredient. Learning the true nature of this secret is the centrepiece of her education.
Hayley Carmichael's perfect for the determined Lila, a vulnerable yet resolute tone in the voice, a walk at once determined and showing the effort to achieve the determination: a character finding her own strength. She needs encouragement to the end; which is the one point where the alert staging lets Pullman's story down.
It's a grand fireworks contest, which she has to win. Other international contestants arrive, comical (Puffenflasch, Scorcini indeed) yet with bravura fireworks presented in stylised theatricality. Lila's display is made up of real fireworks.
Perhaps it was calculated to be climactic. But the moment suffers from Chekhov's nose syndrome (Chekhov said a portrait with the original's nose stuck through a cut-out would be genuine. but in the artistic context wouldn't seem real). Similarly, lighting a few genuine blue touch papers is a let-down after the extravagant theatrical stylisations.
That apart, there's admirable invention and a pleasant performance in Paul Hunter's comically flat style to enjoy, while the contrast between community and lonely exploration is intriguing. And we haven't even got on to the King and the talking elephant….
Lalchand/Razvani: Hannes Flaschberger
Lila: Hayley Carmichael
Chulak: Edward Hogg
Hamlet: Julian Bleach
Elephant Master/Dr Puffenflasch/Ghost 2: Gregory Gudgeon
Special and Particular Bodyguard/Little Pirate: Michael Glenn Murphy
Lord Parakit/Senor Scorcini/Ghost 1: Peter Peverley
King/Goddess of the Lake: Richard Clews
Rambashi: Paul Hunter
Chang/Villager 1: Charlie Folorunsho
Hungry Pirate/Villager 2: Martin Hyder
High Priest/Sam Sparkington/Ghost 3: Toby Sedgwick
Directors: Hayley Carmichael/Paul Hunter
Associate Director: John Wright
Designer: Naomi Wilkinson
Lighting: Jon Linstrum
Sound: Huw Williams
Composer/Musical Director: Iain Johnstone
Flying: Foy
2003-03-26 00:32:38