The Stables Theatre and Arts Centre
The Bourne, Hastings
East Sussex TN34 3BD
01424 423221
The Bourne, Hastings
East Sussex TN34 3BD
01424 423221
Grimm Tales
Adapted by Carol Ann Duffy
Dramatized by Tim Supple
A Stables Youth Theatre production
Directed by Maureen Nelson and Niall Whitehead
5–8 September 2007
Reviewed by Zola Thomas
Adapted by Carol Ann Duffy
Dramatized by Tim Supple
A Stables Youth Theatre production
Directed by Maureen Nelson and Niall Whitehead
5–8 September 2007
Reviewed by Zola Thomas
Rapturous applause met the members of the Stables Youth Theatre as they concluded their run of Carol Ann Duffy and Tim Supple’s Grimm Tales on Saturday night. The delighted full-house audience had been on a whirlwind adventure back through the fairy tales of their childhood to a place where forests are alive, evil queens reign, enchanted heroes battle for their souls, and little old men should always be listened to!
The cast of 28 were superb, in an ensemble piece where every member was used to their best advantage. Each actor launched into the piece with an enthusiasm, energy and charisma that was a joy to watch. We observed as they became forests, knights and horses, magic pools, ovens, mirrors and even a donkey (Frankii Silver) and a goat (Georgia Mcdonald), the last two to great comedic effect.
The tales were mainly faithful to the originals, and it was refreshing to see that the true endings were left in, for example, the rather gruesome come-uppance of the wicked queen in Snow White (Rebecca Boswell), who was placed in red hot metal shoes and made to dance until she perished. A chilling moment too when the pure and lovely Snow White (Jess Ellis) ominously whispered her own sinister “mirror mirror” as the tale closed. In addition there were some imaginative add-ins, a Vicky Pollardesque farmhand being one of the best. As well as the old favourites, we were treated to less well known tales, such as “Iron Hands” and “The Magic Table”. These were all performed with clarity and accomplishment, and were equally enjoyable as the popular classics.
The set for the show combined ramps, platforms, rails and steps, which the company used impressively and unsparingly, going under, over and through to create visual effects and a multitude of different settings. Costume was minimalist—black with regular flashes of colour to illuminate a particular character—and lighting was excellently employed to atmospheric effect.
Directors Maureen Nelson and Niall Whitehead have clearly worked tirelessly to produce a truly impressive show, with their own dedication and skill evident throughout. Their direction brought together movement, music, speech and song, and allowed the actors to display a wealth of talent in a highly creative and stimulating piece of physical theatre. It was a fantastic evening which left us feeling invigorated and almost festive, with a definite excitement for the future of local theatre.
The cast of 28 were superb, in an ensemble piece where every member was used to their best advantage. Each actor launched into the piece with an enthusiasm, energy and charisma that was a joy to watch. We observed as they became forests, knights and horses, magic pools, ovens, mirrors and even a donkey (Frankii Silver) and a goat (Georgia Mcdonald), the last two to great comedic effect.
The tales were mainly faithful to the originals, and it was refreshing to see that the true endings were left in, for example, the rather gruesome come-uppance of the wicked queen in Snow White (Rebecca Boswell), who was placed in red hot metal shoes and made to dance until she perished. A chilling moment too when the pure and lovely Snow White (Jess Ellis) ominously whispered her own sinister “mirror mirror” as the tale closed. In addition there were some imaginative add-ins, a Vicky Pollardesque farmhand being one of the best. As well as the old favourites, we were treated to less well known tales, such as “Iron Hands” and “The Magic Table”. These were all performed with clarity and accomplishment, and were equally enjoyable as the popular classics.
The set for the show combined ramps, platforms, rails and steps, which the company used impressively and unsparingly, going under, over and through to create visual effects and a multitude of different settings. Costume was minimalist—black with regular flashes of colour to illuminate a particular character—and lighting was excellently employed to atmospheric effect.
Directors Maureen Nelson and Niall Whitehead have clearly worked tirelessly to produce a truly impressive show, with their own dedication and skill evident throughout. Their direction brought together movement, music, speech and song, and allowed the actors to display a wealth of talent in a highly creative and stimulating piece of physical theatre. It was a fantastic evening which left us feeling invigorated and almost festive, with a definite excitement for the future of local theatre.
Also in this section >
Photographs > www.artypharty.com
A selection of production photographs from the 1950s to the present is available at our photographer Peter Mould’s website.
A selection of production photographs from the 1950s to the present is available at our photographer Peter Mould’s website.
