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.
This may be a production "suitable for ages 5 and up" but I think that this is one of the most profound plays I've seen in a while and I'm not sure whether I'd agree with the rating. Unlike the Pinocchio of the Disney cartoon, the puppet of the stories by Carlo Collodi does not simply become a real boy, he matures into one through struggle and bitter experience. This is emphasised in the production, as the young marionette's progression into humanity is highlighted in the freer movement of Pinocchio's limbs and a beating heart.
Another interesting aspect of this joint effort is that one of the companies that two of the actors are from, The Shysters, is entirely made up of actors with learning disabilities. I was worried that this would make the play preachy but this was neatly avoided by the play's directors. If anything, it gave resonance to Pinocchio's problems regarding ignorance and fear about his condition in his community.
Aesthetically, there was an effort on the part of the directors to try and communicate the story through non-verbal means. There was almost continual under-scoring and a voice-over narrating the story, commenting on the developments in plot and character. I found that this approach worked, with the exception of Pinocchio's interpretive dance. This appeared throughout the play at regular intervals and at times did nothing but remind me of doing puppet dances in primary school.
Generally, however, I thought that Pinocchio was not as self-consciously 'different' or 'edgy' as a lot of other plays I've seen. This was to its benefit, meaning that its message was communicated effectively. The play contained laughs and poignancy in equal measure, and the directors managed to be stylised without slipping into pretentiousness.
I must confess, however, that I don't know at whom Pinocchio is aimed. As an "adult" (ish) I enjoyed the play's humour and message but found the plot lacking in sophistication. Children, on the other hand, who would have appreciated the simplicity of the premise, might have found scenes such as Pinocchio's strangulation disturbing, particularly if reared on Disney. All in all though, I do recommend a trip to see Pinocchio. Just take it without prejudice or pre-conceived notions of fairy godmothers and crickets singing "When you wish upon a star".
Pinocchio is running at the York Theatre Royal until the 27th of October, tickets are £5 for students and are available at www.yorktheatreroyal.co.uk/ or the box office phone line on 01904 623 568.
You must log in to submit a comment.
