Tag Archives: Festive Favourite

TREASURE ISLAND

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Royal Lyceum Theatre

TREASURE ISLAND at the Royal Lyceum Theatre

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“They are as talented a bunch of pirates as youโ€™re ever likely to see on the high seas”

This yearโ€™s holiday season offering at the Lyceum Theatre is an adaptation of Robert Louis Stevensonโ€™s story of piracy on the high seas, and buried treasure. Adapted for the stage by Orkey based writer Duncan McLean, and directed by Wils Wilson, a talented cast of six launch a modern version of Treasure Island set in Leith, in a home for โ€œreformed pirates.โ€

Scottish writer Robert Louis Stevensonโ€™s classic tale, written in the nineteenth century, has been adapted countless times for film and television. These are the obvious choices of media for a story that ranges across vast distances, and with a large cast of memorable characters. By modernizing Stevensonโ€™s story, McLean tackles both the difficulty of adapting Treasure Island for the stage, and reducing the number of characters to a manageable size. In a home for โ€œreformed piratesโ€, we meet a contemporary version of the boy Jim Hawkins, who has been left in charge of a bunch of unruly pirates. To pass the time, they tell a story of their swashbuckling days. The cast of six take on various roles, including pirates, a castaway, Jimโ€™s mumโ€”and letโ€™s not forget the puffin. McLean has cleverly updated Long John Silverโ€™s iconic parrot to a bird well known to Orkney Islanders. The puppet puffin plays a major role. This version of Treasure Island is presented in a dramatic form that will be familiar to fans of Kneehigh Theatre. So thereโ€™s plenty to look at as the cast deftly goes about transforming the space on stage. From a pirate โ€œhomeโ€ to a ship at sea, and the ultimate destination, a โ€œtreasureโ€ island, the cast are constantly on the move, and that includes climbing up and down a variety of multi-purpose ladders.

The cast themselves are very representative of a modern theatre company. The role of Long John Silver has been transformed into Lean Jean Silver, and Amy Conachan brings all of Silverโ€™s memorable villainy to her interpretation, as she wheels herself nimbly around the stage. She has a lovely singing voice too. Jim is played by Jade Chan, and the rest of the company Tim Dalling (Ben Gunn), TJ Holmes (The Laird), Itxaso Moreno (Billy Bones) and Dylan Read (puppeteer for The Puffin) not only act, but sing and play a variety of musical instruments. They are as talented a bunch of pirates as youโ€™re ever likely to see on the high seas. Set and costume designer Alex Berry has made an equally versatile creations for the actors to play in. Tim Dallingโ€™s compositions range from hearty pirate songs to plaintive ballads. And the puppet designers, directors and makers (Ailsa Dalling, Sarah Wright and Julia Jeulin) have created a delightful puffin who will charm audiences of all ages.

In spite of the updates, though, McLeanโ€™s adaptation falls short. Itย is too long for the slender premise of telling stories to prevent pirates from backsliding into their piratical ways. There is too much of an assumption that the audience is familiar with the novel. And itโ€™s true that Long John Silverโ€™s parrot, โ€œXโ€ marks the spot, and any number of phrases from Stevensonโ€™s classic novel have passed into common usage. Though these days, audiences are more likely to associate โ€˜โ€œXโ€ marks the spotโ€™ with Indiana Jones, rather than Jim Hawkins. This version of Treasure Island compresses the plot, as it has to do, given the length of the novel, but not in a way that clarifies the story. Moving the action to Scottish locations doesnโ€™t help all that much. McLeanโ€™s Treasure Island is still Jim Hawkinsโ€™ story, but Jim himself has been transformed from a boy in search of a father figure after his own has died, to a boy who has to take over running his absent motherโ€™s home for reformed pirates. Somehow, itโ€™s not quite the same.

Treasure Island is a bold choice of a show for a theatre wishing to move away from more conventional Christmas fare, but audiences looking for something that celebrates the holiday spirit may feel that this show would be better saved for another time of year.


TREASURE ISLAND at the Royal Lyceum Theatre

Reviewed on 29th November 2024

by Dominica Plummer

Photography by Jess Shurte

 

 

 

 

 

 

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CINDERELLA | โ˜…โ˜…โ˜…โ˜… | FESTIVAL THEATRE | November 2024

TREASURE ISLAND

TREASURE ISLAND

Click here to see our Recommended Shows page

 

THE CRUMPLE ZONE

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Waterloo East Theatre

THE CRUMPLE ZONE at the Waterloo East Theatre

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“The fast pace creates its own sense of delirium, and the bitter aftertaste is delicious”

There is love happening in a festive Staten Island apartment. There is heartbreak happening too. There are heartfelt dilemmas as a twentysomething quartet โ€“ three men and a woman โ€“ try to sort out their criss-crossed relationships on the eve of Christmas.

In director Helen Bangโ€™s cacophonous onslaught, sometimes itโ€™s difficult to pick out these love stories from the rest. Because, between episodes of soul-searching, ecstasy and grief, there are the endless, merciless histrionics. No thought goes unexpressed. No minor shift in mood or status isnโ€™t analysed then shouted loudly into someoneโ€™s face.

At the heart of it all, though, thereโ€™s the love quadrangle. Bitter queen Terry (scene stealer James Grimm) adores clean-cut Buck (James Mackay). But Buck has fallen for twisted and torn bi-sexual Alex (Jonny Davidson) who has girlfriend Sam (Sinead Donnelly) at armโ€™s length until he figures out his feelings for Buck, who loves him to the point of weepy despair.

Sam arrives for a showdown, having figured out somethingโ€™s afoot. She stirs a pot already whizzing like a whirlpool.

Terry, never short of a bitchy exit line, sums it up thus, โ€œEveryone I know is in love with everyone else I know.โ€ Terry, shorn of reciprocal love himself, tends to scoop up random men, such as macho married-with-kids Roger (Nicholas Gauci) for hook-ups.

Terry, a feather boa on legs, is exhausting. They all are. Their verbal assaults tend to peak in either furious sex or rancorous wrestling, the difference between the two being moot.

Writer Buddy Thomasโ€™ wordy mile-a-minute script โ€“ funny, busy and clever โ€“ is overwhelming at times. The cast feel it. They gamely wrangle the machine-gun acid drops but sometimes it simply gets away from them. The script is like a very big dog on a leash who spots a squirrel in the park โ€“ they hang on being pulled this way and that, hoping for a break.

Thereโ€™s little time for nuance or character. They barely have a chance to register a reaction to some putdown before issuing a fully formed, impeccably paced, beautifully sour response. Consequently, there is very little genuine interaction, just a lot of staged sequential and sour monologues.

However, there are plums in the pudding. Alexโ€™s comic retelling of his sacking as a mall Santa has room to breathe and is rewarding as a result. Grimm does a good line in drunken self-annihilation and Donnellyโ€™s mousy Sam brings a squeak of genuine sadness to the tinselled madhouse.

Of course, Christmas spirit wins in the end, sort of, if not resolving the woes, then at least postponing conflict until the New Year. Everyone can have some turkey and lay down their weapons. Although you sense the men love the friction more than the ceasefire and canโ€™t wait for hostilities to resume.

The performances here are spirited and fun. The fast pace creates its own sense of delirium, and the bitter aftertaste is delicious. If youโ€™re looking for a dark alternative to a raft of cloying Christmas shows, set up camp in The Crumple Zone.

Naughty but nice. But naughty.


THE CRUMPLE ZONE at the Waterloo East Theatre

Reviewed on 29th November 2024

by Giles Broadbent

Photography by Peter Davies

 

 

 


 

 

 

 

Previously reviewed at this venue:

STARTING HERE, STARTING NOW | โ˜…โ˜…โ˜…โ˜…โ˜… | July 2021

THE CRUMPLE ZONE

THE CRUMPLE ZONE

Click here to see our Recommended Shows page