Tag Archives: Tristram Kenton

The Snowman

★★★★

Peacock Theatre

The Snowman

The Snowman

Peacock Theatre

Reviewed – 23rd November 2019

★★★★

 

“a visual feast for young and old eyes alike”

 

The Snowman, based on Raymond Briggs’ award winning children’s book, is brought to the stage by composer Howard Blake, director Bill Alexander and choreographer Robert North for its annual visit at the Peacock Theatre in London’s West End. It’s a perennial favourite among children and their parents “at the most magical time of the year,” and it’s easy to see why. Blake’s music, including the hit song “Walking in the Air” (sung by Aled Jones), plus North’s choreography—with Alexander’s direction tying it all together—makes The Snowman one of those rare shows that can hold the attention of the primary school set and their younger siblings. It also helps that this show, like the book, has no words. The Birmingham Repertory Theatre’s production of The Snowman is a visual feast for young and old eyes alike.

That said, this production has a rather different look from the drawings in the book, although designer Ruari Murchison finds ways to portray the eponymous hero and the young boy who creates and befriends him that are recognisable enough. And it’s hard to find fault with the design for the myriad of other creatures not in the book, who come to join the Snowman and his friends on stage. The never ending array of toys, fruit, and adorable animals that come to life and dance in their unwieldy costumes is something the child in all of us can appreciate. The talented dancers, led by dance captain Antony Edwards, bring off the difficult combination of comedy and grace in their performances, to the delight of their young audience. The set uses the space at the Peacock cleverly and efficiently, given that a lot of room has to be created for the dancers (and for flying the Snowman and the Boy). The small but effective band, under the musical direction of Costas Fotopoulos, creates a lively sound that is loud enough to overcome the constant murmuring of adults and kids commenting on the action, but not so loud that an audience with sensitive ears could object.

The elements of the story in The Snowman are familiar to anyone who loves folk tales. It has some things in common with The Nutcracker, which may be the reason it was adapted into a seasonal show. But The Snowman is a much simpler tale—perfectly designed for a younger audience that may not be quite ready for the complexities of Clara and her world in The Nutcracker. In short, Boy creates a Magical Snowman which he then introduces to the commonplace items of his world, such as clothing, toys, and food. But through the Snowman’s magic these items also become magical, and the boy’s world is transformed, culminating in a fantastic flight to the Snowman’s world where the roles are reversed. Now it is the Boy who becomes the magical figure transforming the world of the Snowmen and their friends. Add in the rescue of the Snow Princess from the evil Jack Frost, and all is ready for a happy celebration before the Boy returns home. Was his journey just a dream? But he still has the scarf that Father Christmas gave him, so of course it must be true.

If there is one criticism to be made of this show, it is that it runs a hundred minutes with an interval. That is a long time for very young children to manage, and there were predictable meltdowns towards the end of the second half. But for the most part, the audience was entranced by the music and dancing, and loved opportunities for waving at the Snowman and the Boy as they flew across the stage. So if panto is not your thing, and you are searching for a seasonal substitute to take your young friends and family to, why not introduce them to The Snowman?

 

Reviewed by Dominica Plummer

Photography by Tristram Kenton

 


The Snowman

Peacock Theatre until 5th January 2019

 

Previously reviewed at this venue:
Cirque Berserk! | ★★★★ | February 2018
The Snowman | ★★★★★ | November 2018
Tango Fire | ★★★★ | January 2019
Hotel | ★★★★ | February 2019
Yamato – Passion | ★★★★★ | March 2019
Beats On Pointe | ★★★ | May 2019
Some Like It Hip Hop | ★★★★★ | October 2019

 

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Youth Without God

★★★

The Coronet Theatre

Youth Without God

Youth Without God

The Coronet Theatre

Reviewed – 24th October 2019

★★★

 

“Horváth’s story oozes dread and suspense, both of which were lacking this evening”

 

Christopher Hampton, the West-End’s go-to translator whose adaptation of Florian Zeller’s “The Son” is currently playing at the Duke of York’s Theatre, has turned his hand to Ödön von Horváth’s 1938 novella “Youth Without God” (‘Jugend ohne Gott’). First published the year of his untimely death, Horváth’s novella is a stunning meditation on complicity and justice under the early years of Nazi rule in Germany. Hampton has been faithful to a fault, in a way that leaves this production feeling a little lacking.

Originally a first-person narrative, we follow the nameless Teacher (Alex Waldmann) whose class of teenage schoolboys are introduced as hot-headed, propaganda-spurting youths. After trying to oust their teacher for his insistence that “Africans are humans too”, the boys are sent off with him for military training in the mountains. Free to roam the woods, one boy (Raymond Anum) begins a clandestine affair with a young orphaned girl (Anna Munden), and events quickly spiral out of control with one classmate ending up with a stone to the temple (Malcolm Cumming) and the other on trail for his life.

All this is told ostensibly from the teacher’s perspective, using narration and reported speech to detail the events. This would not be a problem, but Waldmann’s fairly under-energised performance means he doesn’t quite bring us on side, and he remains an impassive and emotionally stunted character throughout. Hampton has translated great swathes of text for the Teacher, but more needs to be worked out between writer, director and actor to differentiate between narrated and lived-in moments. Why is the Teacher speaking to us at all? Knowing the book, the translation feels a little unimaginative at times. As a published text, fine. On stage? It gets quite dry.

Director Stephanie Mohr has some intriguing ideas that feel blocked by a heavy and dominant text. Chalkboards frame the stage and become trees, doors and a canvas for the boys and their teacher to write on. Dolls’ heads and school chairs end up littering the stage, but much of the business comes across as style over substance. The eleven-strong cast seems a bit over the top, given that three actors play multiple roles while the others get away with one. David Beames stands out for offering a dose of energetic oddness amongst the doom and gloom.

Taken altogether, the potential of the text is sadly left drifting in this production. Horváth’s story oozes dread and suspense, both of which were lacking this evening. Some moments had potential to shock and disturb, but the overwhelming emotion at the end of the night is a shrug rather than a shudder.

 

Reviewed by Joseph Prestwich

Photography by Tristram Kenton

 


Youth Without God

The Coronet Theatre until 19th October

 

Last ten shows reviewed at this venue:
The Outsider | ★★★★★ | September 2018
Love Lies Bleeding | ★★★★ | November 2018
A Christmas Carol | ★★★★ | December 2018
The Dead | ★★★ | December 2018
The Lady From The Sea | ★★ | February 2019
The Glass Piano | ★★★★ | April 2019
Remember Me: Homage to Hamlet | ★★ | June 2019
The Decorative Potential Of Blazing Factories (Film) | ★★★ | June 2019
Three Italian Short Stories | ★★★★ | June 2019
Winston Vs Churchill | ★★★★★ | June 2019

 

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