“Imagination is lacking with the staging as considering this is meant to be up a mountain, it all feels very flat”
White Fang, written and directed by Jethro Compton, is the story of Lizbet, a young Native American girl and her wolf. She is a cold and courageous hunter navigating her outcast place in a society set against her.
The ensemble cast are strong, however the play is predictable in narrative and dramatic clichés. The puppetry has potential but I fear I have been spoilt by seeing Gyre and Gimble’s wolf in The Grinning Man, which is designed and controlled with more characterisation. The stage is also too small for the puppet when accompanied by two puppeteers.
The fierce female friendship between Lizbet (Mariska Ariya) and Curly (Bebe Sanders) is mistaken for love in this story and the romantic elements of the characters’ relationship feel forced. Although they kiss, they do not ever embrace, even facing the threat of death. Sanders is talented but the character is given no back story at all, and the audience know nothing about her except her apparent fondness for Lizbet.
The text includes some witty lines – ‘Learn to drink; or learn to drink less’ and the show is accompanied by beautifully lyrical songs (Gavin Whitworth) with intricate harmonies (lovely bass from Paul Alberton). Lighting is nicely done (Julian McCready) and hints at the vast coldness of the Canadian wilderness. Some sound effects (Juan Coolio) are overly synthetic in the space, particularly the whistling wind and wolves howling off-stage.
The set of the cabin (Jethro Compton) is a stark and bare refuge from the cold that fits the purpose for the indoor action. However, it is so large that only a tiny portion of the stage is left in front for all the outdoor scenes. The noisy brown curtains do not do justice to the landscapes of the programme, and the lack of space and levels mean a huge amount of action (particularly on the floor) is completely lost on me, despite my best neck-craning. Imagination is lacking with the staging as considering this is meant to be up a mountain, it all feels very flat. Just a little height would go a long way.
I hope the company are given the means to expand the play to better portray its surroundings. It needs a stage triple the size and height, with snow and ice to really portray the ‘arctic black’. It would make a wonderful outdoor show, connecting us with the cruel winter it currently struggles to present on-stage. Snow was disappointingly absent, particularly as it is present through all the programme images.
White Fang has promise but the staging unfortunately lets it down.
“filled to the brim with fun, frolics and is ideal for adults and children alike. Truly spiffing!”
Written by Denise Deegan in 1980, Daisy Pulls It Off follows Daisy Meredith as she becomes the first scholarship student to attend the prestigious Grangewood School for Girls. In this parody of 1920s schoolgirl novels, Daisy must overcome prejudice and snobbery from some of her wealthier peers in a bid to uncover missing treasure and save her new school.
The cast is made up of seven diverse adult actors who, as well as playing the schoolgirls, take on other roles such as school teachers and Daisy’s mother. The exceptions to this are Anna Shaffer (Daisy) and Pauline McLynn (Daisy’s newfound best friend, Trixie), who play the same roles throughout.
In terms of comic timing, the entire cast are spot on and deliver the witty script to almost constant laughter from the audience. This does mean the occasional word is lost, but it does not affect the overall delivery or understanding of the piece. Those actors who portray multiple characters do so very well, with effective physical and vocal differences delivered. Lucy Eaton (Alice/Miss Gibson) and Freddie Hutchins (Belinda/Mr Scoblowski) particularly stand out in the portrayal of their contrasting characters.
The set is basic, consisting of a black and white chalkboard-style theme and wooden chairs. However, as the schoolgirls flock the stage in their brightly coloured pinafores, the focus is immediately on them. The contrast between their colourful costumes and the lack of colour in the set works well visually. Another element that works effectively is the fact the cast move the set, consisting of wooden chairs, chalkboards and a wooden staircase, on and off stage themselves, whilst in character. This allows for minimal distraction, whilst allowing the production to flow well.
If you’re after some entertainment this festive season, look no further than Daisy Pulls It Off. Director Paulette Randall’s production is filled to the brim with fun, frolics and is ideal for adults and children alike. Truly spiffing!
