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Jane Eyre Tour


It is a reasonably well known tale, orphaned child reluctantly brought up in disdain by Aunt, sent off to an ‘educational institution’ at the age on ten. Many years later the child as an adult is a teacher in the same institution, working for bed and board, wishing for something better. She secures a post of Governess at an isolated mansion for a child, where Jane for the first time has freedom, warmth from friendship, and a sense of inner contentment. When the master returns from his travels, his aggressive demeanour, their differing stations in life, her straightforwardness, fuel a tender passion. But there is a heavy secret, locked in the attic is his mad first wife. When Jane discovers the truth she runs away from the lies and the liars as well as trying to distance herself from the distress and disappointment, however something draws her back, and when she returns she finds the mansion in ruins and Mr Rochester blinded from injuries. 

Both my sister and I had seen several adaptations of this classic Charlotte Brontë story.  As this was a National Theatre production we knew it was not going to be the traditional theatrical setting, however as we took our seats the stage was set with what looked like a grown-up sized childs playground climbing frame. Slowly the auditorium began to fill but with just five minutes before curtain up, there were still more than half the seats vacant. The complete cast of 12 took up their starting positions.  Whilst the dialogue, accents and costume stayed close to the original story, the staging was contemporary and sometimes difficult to properly grasp its concept and symbolism. The introjection of music and singing sometimes felt disconnected. By the third act seeing the quiet cast move and climb up and down the various ladders and stairs without seemingly purpose, became rather annoying and children climbing in the playground.

This in no way means the performance was bad. The actors did a brilliant job of portraying the various characters, and by far the most enjoyable was a bearded gentleman who played the part of Pilot the dog, who often raised a mild laughter from the audience with his instantly recognisable dog like antics. The actor portraying the arrogant Mr Rochester brought with it a sense of distraction, of brooding resentment of how his life had been mapped out for him by his father without making him evil or wicked.

For us the thing missing from the production was the sense of a sinister secret. In everything we have seen or read there was always a sense of foreboding, of Jane being told not to go into the attic, of sounds and happenings that indicate all is not right. There was absolutely none of this at all throughout the whole performance, only twice was manic laughter heard. For us it was a significant element that was missing.

With a mixture of live music and recorded sound effects these had a tendency to drown out the dialogue of the actors, and on occasion I felt I had missed a vital piece of information that carried an element of the story. This is not unique to this production but something I have experienced at other performances at this Theatre.

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Posted by on July 20, 2017 in Books, Films, Review

 

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The Play That Goes Wrong


The Comley Polytechnic Am Dram group ‘attempt’ to stage the acclaimed murder mystery, the leaders directorial debut (pronounced day-boo) “The Murder At Haversham Manor” set in the 1920’s. They are excited to bring this to the stage as  their limited cast and tight budgets have somewhat hampered their past productions of James And The Peach, Snow White and a few Tall Broad Fellows, and Cat.  However not everything goes to script!

The fun starts before the start, as the auditorium is filling the stage hands are asking if anyone has seen a dog, a springer spaniel with brown ears called Winston. On stage there is a door that won’t stay closed, every time someone closes, slams it, pushes and holds it closed, it slowly opens, of course at the start of the first act it sticks resolutely shut. The mantle shelf keeps falling down and an audience member is enlisted to hold it while a stagehand gets enthusiastic with sticky tape.

From beginning to end there are numerous mishaps of physical, verbal, set and props. But stoically the play must go on. The split second timing of stunts and interaction is incredible. The whole audience were in fits and waves of laughter throughout, I am sure we drowned out the Take That gig at the football stadium. The dexterity of positioning, the glamorous fiancé of the murdered Lord, the flamboyant over acting of the lord’s Brother in Law, the faithful butler who had the difficult words written on his hand or cuff which he mispronounced (morose, as mo-rose, cyanide as Ki-an-idd, philanthropist as Philand-rope etc). The slap stick antics of trying to move the corpse onto the stretcher, or when trying haul the unconscious fiancé through the window makes you wonder why they are not covered to bruises or marks because dumbies are not used in place. 

Valiantly battling on as the stage collapses around them, we reach the denouement, the Police Inspector did it.

This absolutely is the most hilarious entertainment I’ve ever seen. I’d go again, tonight, to see it and strongly recommend you do too. To this, or any other Mischief Comedy productions, Peter Pan Goes Wrong and The Bank Robbery That Goes Wrong.  But take hankies, or a hand towel, you will be crying with laughter!

 
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Posted by on June 16, 2017 in Life, Review

 

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Running Wild

Last night Big Sis and I went to see this amazing play, an adaptation of Michael Morpergo’s 2009 novel about the Boxing Day Tsunami in Indonesia in 2004.  Lily Macready was riding Oona the 12-year old elephant along the beach, but she was behaving awkwardly, wanting to turn away from the flat calm waters, her flight or fight senses took hold and she took off deep into the rainforest as the devastating wave hit the shores taking the lives of many and destroying countless buildings.  The story details how Lily learns to understand Oona and how this majestic animal protects and guides her young charge. Stumbling into the dark dangerous world of greedy gun wielding animal hunters and bullying farmers burning the forest to plant plams to make the highly profitable palm oil (used in many products from soap and shampoo to cooking oils and convenience foods). Eventually stumbling into an animal sanctuary, sunburnt, shot, dehydrated and exhausted and being reunited with her Grandma.

I was not prepared for the play to be so dark and violent in places, something which noticeably upset the young children in the audience. The plot brought attention to the environmental plight of the region, the global zealous need for commodities and the cruel lengths the ruthless go to exploiting that market. 

Oona the elephant is mesmerising, her puppeteers seemingly effortlessly bring life to this charismatic character. The orangutans were lively, cheeky and the babies (being hunted to be sold as pets) were utterly mischievous. Even the tiny details as the fire flies were completely believable. There was a palpable gasp from the audience as the tiger was carried into the hunters camp, dead, valuable as a skin, a trophy, medicine, even though earlier we had seen the same tiger attempting to attack Lily and Oona. 

I would have liked Oona’s trumpet call to be a little louder, as compared to the volume and depth of the orangutans and forest noises it was almost overpowered. Also, we did not really get a sense of time Lily was missing, whether it was a couple of days or a couple of weeks.  But none the less it was a very engaging performance.

After coming home I took a look online to see if I could find out a bit more, and ended up confusing myself further. I thought the story was based on a true life event, although there was a story of a child being taken into the forest on the back of an elephant, Michael Morpergo’s book tells the tale of a boy called Billy, yet the play is a girl called Lily.  There was very little information about what Lily had experienced, or whether she stayed in Indonesia or returned to the UK, whether her father had died prior to the holiday and whether her Mother was killed in the Tsunami, key elements in the plot.

Never the less, I would recommend going to see the performance.

 
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Posted by on April 27, 2017 in Books, Life, people, Review

 

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Granny & Death & Terry & Me


It began by chance, a book sent in error from a club, a blurb that struck a chord, that became a twenty year trek through the wit, the word play, the entendres, the sideways swipe, the unobvious parody, the literal and the Literal musings of a man’s meanderings of a fantasy land. I have no idea why Sir Terry caught my imagination, whether there’s enough reality in the fantasy to hold a ring of truth or I was just entertained.

When two of his books, Wyrd Sisters and Soul Music were made into an animated series, I practically wore the VHS out watching them over and over, the colourful characters firmly in my mind I could see and hear them as I read and reread the books. The dulcet tones of Tony Robinson reading the audiobooks often accompanied sleepless nights.  Later when tomes like Hogwatch, Going Postal and The Colour of Magic were filmed, they were top of my birthday/Christmas lists, staying close to the story, capturing much of the books comedic quality without tipping over into absurdity. 

Every one of the forty-one works has had its own flavour, often parodying cliches of religion, science, mythology, folklore, business acumen, dynasties and continents or authors like Shakespeare, Tolkein, Dicken’s and Potter.  A few of his notable characters have burrowed and set up home in my psyche, Granny Weatherwax and Death being the primary.  I can loose hours perusing numerous quotes or mini scenes. Such as (in exaggerated witchy hag voice), “When shall we three meet again”, “I can do next Tuesday” replies Nanny Ogg in her West Country tone; or “On nights such as this, witches are abroad.  Well, not actually abroad. They don’t like the food and you can’t trust the water and the shamans always hog the deckchairs.” In this time of election decisions I’m reminded of Ankh-Morpork’s take on democracy, “Ankh-Morpork had dallied with many forms of government and had ended up with that form of democracy known as One Man, One Vote. The Patrician was the Man; he had the Vote.”

With the death of Sir Terry and the publication of The Shepherd’s Crown, the final novel, something had an end. I delayed reading the book as I wasn’t ready to say good bye to this comforting friend. Last week I took up the book and began. The first few chapters were pure Pratchett even if the content was the death of my favourite character, but after that the book felt disjointed and unpolished. After the epilogue Sir T’s PA Rob added a letter, he told of their working methods and how books came together, but with the last book there had not been the time to fully work on the drafts, although often the final draft had to be crowbarred from his hands as Sir T was ever quite totally ready to say it was complete and done. It’s well known that this is not his finest, but it is his last and maybe demonstrates that despite his failing mental faculties he was determined to write to the end and not leave us hanging.

Farewell Sir T, Granny and all. 

 
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Posted by on April 22, 2017 in Books, people, Review

 

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