Tag Archives: Oliver Mawdsley

Winter Wonderland

THE SNOW QUEEN

New Vic Theatre, Newcastle under Lyme, Saturday 26th November, 2016

 

Hans Christian Andersen’s fairy tale is given the Theresa Heskins treatment in this beautiful new version that continues the New Vic’s impeccable tradition of superlative Christmas entertainment.  Heskins’s adaptation improves on the original, in my opinion, by giving the Snow Queen a backstory.  We understand why she is the way she is by seeing how she became the bogeyman, a legend used to frighten children.  The play begins with a sweet courtship scene between the awkward Soren Sorenson (a sweetly clumsy and tongue-tied Oliver Mawdsley) and Karen, the object of his affection.  They skate around the issue – literally: the cast wear inline roller skates to glide around – and come to an understanding, only to have tragedy strike, putting their romance on ice.

Polly Lister gives a chilling performance as the icy, mournful ghost.  Everything about her is striking, the voice especially.  Once again, we are treated to a magnificent score by genius composer James Atherton, and Lister’s voice is the strongest of the night.  Her scenes with Kai (Luke Murphy) are reminiscent of Edmund and the White Witch of Narnia, and there are echoes of other tales, other myths: Summer’s garden, on which Gerda becomes trapped, is like Circe’s island, and the three puzzles Kai must solve remind me of icy Turandot’s riddles with their one-word answers.

Natasha Davidson is an appealing heroine/narrator as the plucky yet bookish Gerda.  Books form the scenic elements here, great slabs like ice floes.  There is a running theme that storybooks are at least as valuable as factual ones.  The Dickensian, Gove-like education meted out by Schoolteacher (Rachael Garnett) is not enough to get children through life and its problems.  Creative thought is vital to our survival.

It’s a stunningly beautiful show, visually, thanks to Laura Clarkson’s set (the stage floor is especially important to the story), Lis Evans colourful Danish-Victorian chic costumes, and Daniella Beattie’s magical lighting design; and aurally, courtesy of Atherton’s evocative compositions, played on stage by the talented actor-musicians.

The splendid leads are supported by equally strong ensemble members.  Matthew Ganley’s Bitzer, for example, and Rachel Dawson’s Robbergirl, help to populate Gerda’s account with engaging characters.  Heskins’s direction includes her trademark ‘distance fighting’, a kind of non-contact violence that is expressive, effective and fun, and there are also stand-out sequences, like the toboggan race, the flight of the Snow Queen, and a stunning backwards scene – Heskins puts the performer at the heart of her stage effects.  She gives the design and tech teams challenges (which they meet, no question) but she is essentially an actors’ director and, above all that, a consummate storyteller.

Ultimately heart-warming, this is the perfect entertainment for a chilly winter’s night.  You leave the theatre feeling cosy and warm.  It’s the simple, uncomplicated things of life that make you feel good, especially at this time of year – I suppose this is the hygge that’s all the rage these days, something that Hans Christian Andersen knew all about.

new-vic-theatre_the-snow-queen_image-by-andrew-billington_2

Frozen assets: Polly Lister as the Snow Queen (Photo: Andrew Billington)

Advertisements

Well Spotted

THE 101 DALMATIANS

The New Vic Theatre, Newcastle under Lyme, Saturday 23rd November, 2013

 

The festive season of family fare gets off to a cracking start with this non-seasonal story from the New Vic’s artistic director Theresa Heskins.  Her adaptation of Dodie Smith’s classic children’s novel is a stylish, charming and inventive piece with plenty for all ages to enjoy.

Set in the 1950s, the cut of Lis Evans’s costumes is clean and sharp in bright colours or, of course, vibrant white with black spots.  The cast is paired off into dogs and their human pets.  They lindy hop (I believe it’s called) in a joyous opening number.

What takes the dog biscuit is the jazz-informed score by James Atherton, performed by the man himself, and various cast members when they’re not wagging their tails or holding up props as human fixtures and fittings.  The music is irresistible, the heartbeat of the performance, playing under scenes like a particularly cool and hep film soundtrack, and then coming to the fore for the songs, the best of which are belted out by Polly Lister’s Cruella De Vil.   Atherton’s score is the sumptuous icing on the top of a very big cake.

Playing the lead, as well as wearing one, is Oliver Mawdsley as the energetic Pongo.  He and Perdita (Hannah Edwards) form an appealing and amusing pair, casting asides over their shoulders, commenting on the strange behaviour of the humans.  When their large litter of little puppies is stolen, they em-bark on a quest to retrieve them and the production goes all out for invention and surprise.  The ‘twilight barking’ uses dogs cropping up through trapdoors and speaking in a range of regional accents to convey the distance the message is spread.  The question in my mind, if not everyone else’s, is how is Theresa Heskins going to show us the full complement of Dalmatians?

Well, she does.  A troupe of local children, dog-eared (so to speak) and tailed represent some of the puppies but they are also puppeteers operating many more.  That’s fair enough but then the ideas keep coming – any single one of which would have been more than adequate.  Theresa Heskins has access to an inexhaustible well of invention, it seems.

Polly Lister stalks and declaims (and even drives a marvellous customised car) around the stage.  Her insatiable lust for fur and animal skins marks her out as the villain – Dodie Smith must have been among the first to criticise the fur-fashion industry.

Pashcale Straiton is very funny as Nanny, producing newborn pups from about her person and I would have liked to have seen more of Cruella’s comedy henchmen, Anthony Hunt and Andy Cryer as the Baddun brothers. Matt Connor and Sophie Scott are suitably perky and bright as human couple, the Dearlys – they emphasise the Englishness of this production, reclaiming the story from Disney’s England-through-American-eyes cartoon.

With its anthropomorphism of the dogs and even the hat-racks and table lamps, the show hints at a darker story.  It’s not only a matter of animal cruelty and exploitation, it’s about man’s inhumanity to other humans too. Written post-war, the novel is an archetypal rescue-and-escape story.  It’s Maria and the Captain leading the Von Trapp family away from the Nazis.  Cruella’s Hell Hall is a concentration camp in which the prisoners will be violently exterminated and skinned, their hides put to use – I shivered when I saw a cast member holding up a lampshade.

This is not an overt metaphor but it’s there if you look for it.  What you get at the New Vic is a superb evening’s entertainment, funny and touching.  It’s enchanting in both form and content and will no doubt knock spots off the competition.

Image

Here, boy! Cruella (Polly Lister) eyes up her next handbag.