“Jonny Dixon’s superb puppets and masks feed our imagination and enhance this youthful yet enlightened production”
Iris Theatre presents a new, pertinent version of the ‘Arabian Nights’, turning Hoxton Hall into a wonderland of illusion. Rich colours, masks, puppets, dance and music blend and fuse with the narration to take us on a familiar journey, but down a different path. Nessah Muthy’s heartfelt rewriting of this centuries-old treasure adapts the framework of the story to show the strength and independent minds of women. King Shahryar finds revenge for his wife’s unfaithfulness by marrying a new wife every day and killing her the following morning. When he decides to marry Dunzayad, his young servant, her older sister, Sharazad, uses her gift of storytelling to buy time and save her. In doing so, she gradually sees behind the king’s brutal façade and challenges him, questioning her own feelings as well. Muthy also adds clever twists of gender within the tales, giving them a modern relevance.
Director, Daniel Winder, masterfully interprets the script with art and inspiration. Jonny Dixon’s superb puppets and masks feed our imagination and enhance this youthful yet enlightened production. The lighting (Ben Polya) and sound (Filipe Gomes) add magical and dramatic effects and a constant stream of additional details holds our attention – Amber Scarlett’s resourceful set design, evocative music and dance (Sonum Batra and Nour Alkawaja) and colourful costumes by Maddy Ross-Masson.
The well-chosen, multi-cultural cast poignantly reflects the rich origins of the ‘Arabian Nights’. The six actors cover a multitude of roles as well as manipulating the puppets with dexterity, allowing us to enjoy the fantasy. We not only hear of Ali Baba and Sinbad; brothers and sisters, princesses, husbands and wives, sailors, kings and queens and animals all play their part in recounting adventures, myths and morals. There are varied and vivid performances from Ikky Elyas and Maya Brittoa, Hemi Yeroham’s comic flair, Pravessh Rana’s powerful presence on stage, Izzy Jones’s portrayal as the spirited sister and a special mention for Sharon Singh as Sharazad, who elegantly holds the main plot together with the many narrative diversions.
The first half of the show takes a while to flow. Once we break through the slightly ‘theme park’ feel of the repetitive, pre-show piped music, the imitation stone of the set (from the audience’s close proximity) and the initial impact of the broad acting, we can appreciate the huge amount of thought, work and talent. It is neither a children’s show nor more suitable for adults; seemingly, it has something for everyone. And, at two and a half hours long, there is plenty of time to find it.
“The music is beautifully chosen and forms a beguiling and well-crafted backdrop”
Molière’s daring script, based on a story by Tirso de Molina, was published in 1665, with a milder version written by Corneille in 1677 at the request of Molière’s widow. Director, Anastasia Revi, makes bold, enriching changes to the play, emphasising a less considered aspect of Don Juan as a man who is victim of his own desires. The initial scene setting is brilliantly clever, playing with the audience’s preconceptions, and the added ‘Illusion of Love’ character creates a visual dimension to Don Juan’s vulnerability. In addition, placing the action at the Venice carnival rather than Sicily allows for a more playful atmosphere. In the play, newly-wed Don Juan is pursued by vengeful relatives while embarking on further amorous adventures. After fleeing, unrepentant, he experiences a series of supernatural encounters before finally confronting his failings, and fate.
Peter Rae is superb as the free-thinking, amoral Don Juan, consumed by his weakness for women and without a care for the distresses he leaves behind. He puts across a self-assured nonchalance as he engages in entertaining, philosophical discussions with the devout yet ambitious Sganarelle, wonderfully portrayed by David Furlong. Furlong perfectly balances the servant’s need to challenge his master’s views while being careful not to risk his job. There are a couple of instances where we enjoy the valet’s own take on Don Juan, but it is the chemistry of their relationship that defines this interpretation and drives the narrative.
The discarded yet defiant Elvira is played by Emmanuela Lia in a strong performance as she scorns her husband’s deceit until recalled by her faith to the convent. There is a wealth of distinctive characters in the talented hands of Benoît Gouttenoire and Samuel Lawrence who, behind Venetian masks, appear as men, women, young and old. In particular, Lawrence’s Pierrot and Don Luis stand out. Signe Preston as the Illusion of Love gracefully weaves round the theatre enticing Don Juan’s susceptibility.
Anastasia Revi’s inspired direction assimilates the whole theatre space, involving the audience in the action and giving energy to the production. The music is beautifully chosen and forms a beguiling and well-crafted backdrop, at times providing its own comedy. The resourceful set design by Valentina Sanna uses a handful of props to conjure up a privileged lifestyle and she makes good use of height on the small stage. Chuma Emembolu’s lighting articulates the contrasting moments with precision and sensitivity, and the costumes (Valentina Sanna) and wigs (Umberto Fiorilla) add a touch of disguise to the carnival spirit. As minor comments, the sound is slightly too loud during certain sections of dialogue and the masks occasionally muffle the speech.
Theatre Lab’s ‘Don Juan’ transforms the cliché of seductiveness into an almost endearing cynicism, a weakness of indulgence rather than the acme of male prowess, and in doing so, the female element becomes more dominant and the passages of philosophising make more sense. With an excellent cast and lively staging this is somehow both rollicking entertainment, and food for thought.
