The Stables Theatre and Arts Centre
The Bourne, Hastings
East Sussex TN34 3BD
01424 423221
The Bourne, Hastings
East Sussex TN34 3BD
01424 423221
Gormenghast
By Mervyn Peake
Adapted by John Constable
A Stables Youth Theatre production
Directed by Maureen Nelson and Niall Whitehead, assisted by Zoe Morgan
2–5 September 2009
Reviewed by Margaret Blurton
By Mervyn Peake
Adapted by John Constable
A Stables Youth Theatre production
Directed by Maureen Nelson and Niall Whitehead, assisted by Zoe Morgan
2–5 September 2009
Reviewed by Margaret Blurton
How many people tried at an impressionable age to read Mervyn Peake’s famous work but could not penetrate its dark secrets and gave up in favour of The Beano? The Stables Youth Theatre, with a panache which we have come to expect, succeeded in a remarkable mission: to capture in two acts the plot and the doom-laden atmosphere of this epic novel.
From the off, the castle walls groaned and oozed, and the life story of the castle was displayed murkily in the form of chalk writings on the floor. The chorus were magnificent, clad in black veils and morphing from walls to stairs; we were drawn at once into the castle’s profusion of dungeon-like rooms and morass of slave-servants.
The stage adaptation allowed only bare bones of narrative, but these were deftly thrown to us by the main protagonists. The superb, noble bearing of the statuesque Countess Gertrude (Rhianna Ellis), and her devotion to her white cats—excellent prop—permitted no thought of insurrection, nor of Lord Sepulchrave (Alex Richardson-Price), whose world was of books, and whose madness once they were gone seemed inevitable. Barquentine (Anya Williams) took on the drawling, self-important defence of the status quo with a sneer which never faltered. Flay (Emily Bates) and Swelter (Charlie Legg) enacted a hatred which had clearly been brewing for many chapters.
The aunts Cora (Lillian Pierce) and Clarice (Lily Share) were delightfully twinned in their hopeless, shapeless, weak lives. Dr Prunesquallor (Elli Drew), with a light touch, provided moments of loyal respite in the treacherous tale. Fuchsia (Catherine Jeffries) fluttered nervously about and wished for something more to wish for, and leaned towards Steerpike with more hope than conviction—sweetly played.
Steerpike’s (Jack Millar) development from a scummy kitchen boy, who had yet managed to preserve a vision of something better for himself, into a soul given up to ambition was the key to the piece. It was performed with zest and an impressive range of moods. And the Thing (Sinéad Phelps)—wow! Wild, lithe and arresting, utterly at odds with Gormenghast life—no wonder Titus was entranced. Titus (Des Byrne) had the unenviable task of portraying a book’s worth of characterization in just a few scenes, and rose to the challenge.
The angst of youth will out, and will change the world! As long as it doesn’t change the Stables Youth Theatre too much, and deprive us of one of the most enjoyable shows, and certainly that with the biggest blast of energy, of the Stables season so far.
Now I have to go and read the book …
From the off, the castle walls groaned and oozed, and the life story of the castle was displayed murkily in the form of chalk writings on the floor. The chorus were magnificent, clad in black veils and morphing from walls to stairs; we were drawn at once into the castle’s profusion of dungeon-like rooms and morass of slave-servants.
The stage adaptation allowed only bare bones of narrative, but these were deftly thrown to us by the main protagonists. The superb, noble bearing of the statuesque Countess Gertrude (Rhianna Ellis), and her devotion to her white cats—excellent prop—permitted no thought of insurrection, nor of Lord Sepulchrave (Alex Richardson-Price), whose world was of books, and whose madness once they were gone seemed inevitable. Barquentine (Anya Williams) took on the drawling, self-important defence of the status quo with a sneer which never faltered. Flay (Emily Bates) and Swelter (Charlie Legg) enacted a hatred which had clearly been brewing for many chapters.
The aunts Cora (Lillian Pierce) and Clarice (Lily Share) were delightfully twinned in their hopeless, shapeless, weak lives. Dr Prunesquallor (Elli Drew), with a light touch, provided moments of loyal respite in the treacherous tale. Fuchsia (Catherine Jeffries) fluttered nervously about and wished for something more to wish for, and leaned towards Steerpike with more hope than conviction—sweetly played.
Steerpike’s (Jack Millar) development from a scummy kitchen boy, who had yet managed to preserve a vision of something better for himself, into a soul given up to ambition was the key to the piece. It was performed with zest and an impressive range of moods. And the Thing (Sinéad Phelps)—wow! Wild, lithe and arresting, utterly at odds with Gormenghast life—no wonder Titus was entranced. Titus (Des Byrne) had the unenviable task of portraying a book’s worth of characterization in just a few scenes, and rose to the challenge.
The angst of youth will out, and will change the world! As long as it doesn’t change the Stables Youth Theatre too much, and deprive us of one of the most enjoyable shows, and certainly that with the biggest blast of energy, of the Stables season so far.
Now I have to go and read the book …
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.
