THE OXFORD PASSION. To 8 September.
Oxford
THE OXFORD PASSION
by Lizzie Hopley.
Oxford Castle To 8 September 2007.
To 26 August: Mon-Sat and 18,26 Aug 7.45pm Mat Sat & 15 Aug 2.30pm no performance 20 Aug
From 27 August: Mon-Sat 7.15pm Mat Sat & 27 Aug 2pm no performance 28 Aug
Runs 2hr 35min One interval
TICKETS: 01865 766266
www.creationtheatre.co.uk
Review: Timothy Ramsden 9 August
Rich and vivid, a biblical story for the modern world.
Its opening, all hollow-happy, stepchild-of-Godspell musical bounciness almost put me off this from the start. But it’s worth sticking with as the action moves from the easy-living pizza and tapas area of Oxford Castle to the open-air theatre set-up proper where things take a somewhat Calvinist turn, with a theatre ticket required to prove you one of the Elect.
Lizzie Hopley’s fine script, starting as Jesus clears commerce from Jerusalem’s temple, doesn’t merely cover the usual biblical Passiontide events. Much of its first act deals with miracles and teachings, all made theatrically vivid in the swirl of Charlotte Conquest’s production, its core cast helpfully amplified by a community chorus.
But these events are also dramatically vital; through them Jesus works out the consequences of his nature. “I am the resurrection and the life” becomes the tough realisation of the man at work resurrecting Lazarus.
He is someone who becomes aware of his divine nature, or, according to view, lives himself into a sense of divinity. Good and evil here contrast attempts to build a better world against petty self-interest. If there’s a cost in this approach, it’s in the simplistic treatment of surrounding characters. Caiaphas becomes a sinister, attaché-case bearing figures, Pilate unbalanced by an authority beyond his competence.
Caroline Devlin and Natalie Garrett ensure the passions of motherhood are strongly present. And, while casting your sole Black performer as the Angel of Death isn’t the most enlightened piece of inclusive casting, Dami Olukoya has a piercing purposeful presence, and the moment Jesus holds aloft the sword she’s wielded throughout is one of several visually startling images. Try to see the show at night, when Ashley Bale’s lighting creates a tight pool of light at Jesus’ arrest and sculpts the deposition from the cross beautifully.
There are precise, vivid images throughout. The crown of thorns pressed on Jesus as Judas’ head fits into a noose, or the sudden appearance of the resurrected Jesus as a crowd parts make this a concentrated, invigorating reflection of the question of faith for anyone in the modern world between the Pope and Richard Dawkins.
Thomas/Pilate/Seller/Soldier: Jonathan Baker.
Peter/Caiaphas/Pharisee: Tim Crowther.
Mary, Mother of Jesus: Caroline Devlin.
Mary Magdalen/Elisabeth: Natalie Garrett.
Judas/Blind Beggar/Temple Priest: Owen Oakeshott.
Angel of Death: Dami Olukoya.
Jesus: Tom Peters.
Andrew/Seller/Pharisee/High Priest/Soldier: Gary Trainor..
Chorus: Brigid Allen, Louise Anderson-Clemence, Hedy Boland, Jessica Clare Bridge, Charmaine Clarke, Alice Evans, Barbara Evans, Emanuele Ferrotti, Tessa Grafen, Teresa Heys, Lorna Hicks, Elizabeth Holcroft, Natalie Kenrick, Sam Knipe, Claudia Molina, Ian Pattison, Julie Syvret, Rachel Walding, Daniel Whitley, Fleur Yerbury-Hodgson.
Director: Charlotte Conquest.
Designer: Lucy Wilkinson.
Lighting: Ashley Bale.
Sound: Matt Eaton.
Composer: Peter Lole.
Movement: Aidan Treays.
Voice/Verse coach: Richard Ryder.
Fight choreographer: Mike Bower.
Assistant director: Jennifer Thomas.
Assistant designer: Abby Price.
2007-08-17 02:21:37