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Show: Rumpelstiltskin
Society: London (professional shows)
Venue: Southbank Centre's Queen Elizabeth Hall
Credits: Produced by Windmill Theatre Company and State Theatre Company South Australia
Type: Sardines
Author: Chris Abbott
Performance Date: 13/12/2018
Rumpelstiltskin
Chris Abbott | 19 Dec 2018 09:39am
L-R Sheridan Harbridge, Paul Capsis. Photo: The Other Richard
The Queen Elizabeth Hall was full for the opening night of this production from the State Theatre Company South Australia and Windmill Theatre Company. Director Rosemary Myers, also co-writer with Julianne O’Brien, has set the story in the present day world of fashion. According to their programme notes, the aims were a funny but uncomplicated script, great music and “eye-popping visuals.”
They certainly achieved their aim as far as the look of the piece was concerned. Set within a series of concentric arches, the production relied heavily on projected animation (Chris Edser) which very effectively travelled around the arches or created illusions of movement. Designer Jonathan Oxlade also provided some inventive costumes which changed the shape of the actors in line with the aesthetic of the show.
Visually, then, quite an achievement. Unfortunately, the script was anything but uncomplicated, with characters ranging from a very human rat and crow to someone called Malcolm who might have been pretending to be Rumpelstiltskin as well (I think) and a character called Tootie whose role in the story I never managed to discern. As the Rat, Alirio Zavarce rose above the storyline to give us an interesting character who was always watchable, and Sheridan Harbridge (who loses her hair like Rapunzel at one point, adding elements of another story) is a sympathetic mother who loses her baby to Rumpelstiltskin.
Rumplestiltskin is played by Paul Capsis in a vigorous if mannered performance which leaves the audience uncertain as to whether he is good or bad – or possibly both. It was only when the baby went missing at the beginning of the second half that the fourth wall was broken down and the audience became more engaged. This section of the story – the one element to survive from the original folk tale – was clear to follow and Ezra Juanta was an endearing, amusing and sympathetic infant.
All in all, then, a disappointing evening despite evidence of considerable talent, a striking design and some good performances.
- : admin
- : 13/12/2018