The Stables Theatre and Arts Centre
The Bourne, Hastings
East Sussex TN34 3BD
01424 423221
The Bourne, Hastings
East Sussex TN34 3BD
01424 423221
Great Expectations
By Charles Dickens
In a new adaptation by Nick Ormerod and Declan Donnellan
A Stables Youth Theatre production
Directed by Niall Whitehead and Maureen Nelson
3–6 September 2008
Reviewed by Phil Blurton
By Charles Dickens
In a new adaptation by Nick Ormerod and Declan Donnellan
A Stables Youth Theatre production
Directed by Niall Whitehead and Maureen Nelson
3–6 September 2008
Reviewed by Phil Blurton
The Stables Youth Theatre has established a reputation for imaginative and captivating physical theatre, and this year’s production of Great Expectations has maintained that tradition. The show was characterized by compelling ensemble acting that brought to life Dickens’ classic story. With around thirty pupils from local secondary schools taking part, the production maximized everyone’s involvement and played to the cast’s strengths of youthful energy, physicality and creativity.
Ormerod and Donnellan’s new adaptation presented the play through the moods of a chorus, from which flow individual characters, storytellers and observers. The cast’s wonderful reactions through movement and sound to the unfolding story undoubtedly heightened the drama of the piece and engaged us in the play. Such was the evident level of concentration and focus by the cast that, whether playing central characters or chorus, it was clear that the performers had taken on true ownership of the play. Credit for this must go in large part to the commitment and inspiration of the directors, Maureen Nelson and Niall Whitehead, assisted by Zoe Morgan.
Set-piece episodes of action were particularly impressive, such as the frightening end to Miss Havisham, who was burned alive by actors as clawing flames, or the humorous portrayal of a boat, where the cast became oars, seating and hull. Rhythmic sound effects—created by percussive use of the set, simple implements and voice—mirrored this physical creativity and conjured up scenes such as the unsettling marshes and the busy blacksmith’s forge. With such high standard ensemble playing it is hard for individual performances to stand out, yet for me Jennifer Maclean’s Miss Havisham and Alex Richardson Price’s Abel Magwitch displayed particularly intelligent and full characterizations of their roles, and Anya Williams as Mr Wopsle gave a fine comic cameo.
What more could we have asked for in this show? Lighting was suitably Dickensian in character but a notch brighter would have been good, and the pace at the start of the play was a little slow. Given the success with physical performance, perhaps too it was unsurprising that less attention had been given to detailed phrasing of the Dickensian language. You cannot do everything in two weeks’ rehearsal!
Overall, this was an extremely ambitious and successful production, proving once again that where our local young people are concerned we can, and should, have Great Expectations.
Ormerod and Donnellan’s new adaptation presented the play through the moods of a chorus, from which flow individual characters, storytellers and observers. The cast’s wonderful reactions through movement and sound to the unfolding story undoubtedly heightened the drama of the piece and engaged us in the play. Such was the evident level of concentration and focus by the cast that, whether playing central characters or chorus, it was clear that the performers had taken on true ownership of the play. Credit for this must go in large part to the commitment and inspiration of the directors, Maureen Nelson and Niall Whitehead, assisted by Zoe Morgan.
Set-piece episodes of action were particularly impressive, such as the frightening end to Miss Havisham, who was burned alive by actors as clawing flames, or the humorous portrayal of a boat, where the cast became oars, seating and hull. Rhythmic sound effects—created by percussive use of the set, simple implements and voice—mirrored this physical creativity and conjured up scenes such as the unsettling marshes and the busy blacksmith’s forge. With such high standard ensemble playing it is hard for individual performances to stand out, yet for me Jennifer Maclean’s Miss Havisham and Alex Richardson Price’s Abel Magwitch displayed particularly intelligent and full characterizations of their roles, and Anya Williams as Mr Wopsle gave a fine comic cameo.
What more could we have asked for in this show? Lighting was suitably Dickensian in character but a notch brighter would have been good, and the pace at the start of the play was a little slow. Given the success with physical performance, perhaps too it was unsurprising that less attention had been given to detailed phrasing of the Dickensian language. You cannot do everything in two weeks’ rehearsal!
Overall, this was an extremely ambitious and successful production, proving once again that where our local young people are concerned we can, and should, have Great Expectations.
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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.
