THE NUTCRACKER. To 10 January.
Bath.
THE NUTCRACKER
by Hattie Naylor music and lyrics by Paul Dodgson additional music by Sarah Moody..
The Egg (Theatre Royal) To 10 January 2009.
10am 7-9 Jan.
11am 31 Dec 3 Jan.
1.30pm 6-9 Jan.
2.30pm 29-30 Dec, 2-3, 10 Jan.
3pm 31 Dec.
7pm 29-30 Dec, 2, 6, 10 Jan.
BSL Signed 7 Jan 10am.
Runs 2hr One interval.
TICKETS: 01225 448844/823409.
www.theatreroyal.org.uk
Review: Timothy Ramsden 22 December.
Prepare for scares, but this is a memorable piece.
Thanks to Tchaikovsky’s ballet score (not a chord of it heard here) a lot of attractive music colours this E T A Hoffman story in many minds. It’s not like that for young people coming upon the story via Hattie Naylor’s version. That’s not just the sonic level as war between the Hussar Nutcracker and the Mouse King avenging his mother Mouselink’s death at Nutcracker’s hand (or rather inadvertently placed foot) suddenly involves flights of aircraft. For the battle’s fun, with characters dashing round and paper-aeroplanes zooming across The Egg.
Certainly, the final irruption of the rodent forces comes with a bang. But it’s the first half where the horrors pile-up: scratches and bites, bodily distortions and blood. Nothing a few counsellors and a hotline to the Samaritans couldn’t solve, but it’s well to take the theatre’s 6+ lower age limit seriously. And, sugar-plum fairy or not, Hoffman’s is no sweet story.
Storytelling Uncle Drosselmeier is known for his cruel inventions; Robert Luckay’s tall, bleakly smiling, black-clad figure emphasises his reputation as he incorporates himself into his bloody bedtime tale. Despite designer Hayley Grindle’s colourful doll’s-house set (its roof incomplete) this is a place of interrupted sleep, noises outside the door, and fearful dreams.
Childhood’s dark dreams, in which an ending never seems safely secured, are made into a preparation for the severe shock to which adult emotions can make people vulnerable. Framing Drosselmeier and his story is the sudden collapse of 17-year old Clara’s life. That’s an event clearly placed in the future. For the main story’s Now Clara is 12. It’s as if childhood imagination’s shadowy inventions prefigure but also help immunise against the worst impact of real-world adult devastation. And so the story finishes by returning to Clara at 17, about to read the words that will tear her world apart.
It’s some way from here to ensuring everything onstage can be assimilated by all the young. Yet, if expectations are set aright there’s plenty to resonate with young minds, plus colour, humour and a humane richness that make this energetically performed play vivid, memorable and exciting.
Fritz/Otto: Gregor Henderson-Begg.
Princess Pirlipat/Wilheim: Sally Lord.
Drosselmeier: Robert Luckay.
Ignatius/King/Pantallon/Heinrich: Dyfrig Morris.
Albert/Nutcracker/Elias: Aled Pedrick.
Frieda/Queen: Zara Ramm.
Sneaky Hans/Drummer Boy: Jethro Smith.
Clara/Mouselink: Alexis Terry.
Kurt/Herbert: Matthew Woodyatt.
Director: Lee Lyford.
Designer: Hayley Grindle.
Lighting: Anselm Harrison for Starlite Electrics
Sound/Co-Musical Director: Paul Dodgson.
Co-musical director: Sarah Moody.
Fight director: Kate Waters.
2008-12-27 23:09:27