Catherine Bennett resumes the weekly look at the performing arts world, with the sad end of Jerusalem, the luck of a cabbie, and French revolt. Do you hear the people sing?
Adam Alcock reviews Nigel Kennedy playing Vivaldi's Four Seasons and his own Four Elements at York Opera House.
Catherine Bennett highlights the trends in the performing arts world today.
Jonathan Cridford reviews 'Ghosts', one of the Freshers' plays for this year.
Happily Ever After Soc's Return To The Forbidden Planet is in every sense of the word spectacular. A song-and-dance fusion of fifties pulp sci-fi with Shakespeare's The Tempest, the show leaps from plot to plot, song to song and genre to genre as if it's playing hopscotch, keeping the audience constantly starry-eyed and stimulated with the sheer irresistible energy of its pace and enthusiasm.
Misappropriated lines from all over the Shakespearean canon wend their way seamlessly into the dialogue, and are constantly subverted by pieces of comic naturalistic speech slipped in within and around them - and equally, song lyrics and transitions delivered completely, hilariously straight are likely to crop up at any moment. “I am a dad more sinned against than sinner” laments exiled scientist Dr. Prospero, who early on in defence of his alleged madness delivers a positively Shatner-esque spoken word rendition of “Don't Let Me Be Misunderstood”. There's a mad fusion occurring here of high art and pop culture - and just as the Shakespeare lines come from unexpected angles and varied sources, the pop culture is a blend of the fifties Buck Rogers-style sci-fi the play promises and a whole-hearted rock and roll playfulness one would associate more with Grease or Happy Days. There are influences from more modern musical traditions as well; with the sparkly, glittering makeup and costumes of the dance troupe, some of whom wear legwarmers, as well as the synthy dramatic notes and flashing neon-coloured spots, words like 'glam' and 'new wave' spring happily to mind.
Speaking of the dancers, they're spectacular - there are some seriously agile, well-choreographed moves on display here, and for the most part the synchronisation of the troupe (as well as the speaking cast) is a sight to behold, despite the occasional slip-up. The singing is also excellent; Katy Wood as the Science Officer is the tearaway talent here, with her delivery of “Go Now” in the climax one of the few moments in the show that manages real emotional depth in defiance of its light-hearted jukebox comedy roots.
That's not to sell the others short. Tom Jones as Cookie is a Rick Moranis-esque comic presence who at his best can belt out rock and roll parts with the infectious power of a Blues Brothers-era John Belushi (he only falls somewhat flat in “She's Not There”), and Gemma Whitham as Miranda gives some truly wonderful - and funny - singing performances that help balance out her largely serious role in an extremely quirky cast.
The acting is for the most part good; not great, but that's speaking only in terms of delivery. The physicality of the entire cast, and most notably James Ball as Prospero, Benedick Gibson as Ariel (the show's inspired recast of Caliban as Prospero's robotic servant), and Jones as Cookie, is excellent and not infrequently astonishing. Jones stumbles, shuffles and falls with the practised gracelessness of a natural physical comedian, only to surprise with some of the show's most athletically impressive stunts: Ball's fits of trembling madness and Saturnine, stand-offish posture make him exactly as exciting and sinister as he ought to be, and Gibson's jerky, robotic upper body combined with rollerskate-enabled gliding across the stage provides some of the most compellingly humorous physicality on show.
This is a show not to miss. There are many excellent actors, well-staged musical numbers and compelling directorial choices that I simply don't have room to praise here. I give a thorough congratulations to the cast and crew for producing something they deserve to be recognised for, and I repeat, with emphasis: don't miss it!
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