★★★☆☆ Imúlé Theatre describes this show as a story-telling experience . . . key passages are partially improvised to reproduce the reader’s experience of unrelenting uncertainty. The aim is to recreate the power and immediacy of Hemingway’s fable.
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★★★☆☆ Jane Austen’s book opens with one of the most famous, and possibly most sexist, lines in the history of English literature. Perhaps the concepts of men being in want of a wife, or marriage being the life goal for women, are things we wouldn’t recognise in our modern western society . . . Regent’s Park Theatre company have brought their swanky and stylish version of this costume drama to the elegant Theatre Royal in Bath.
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The history of the Christian religion has plenty of examples of intense piety, even fanaticism: Hermits in caves striving for union with god, monks dedicated to spiritual focus and anchoress nuns that lived in walled up cells and devoted themselves only to prayer. Trying to find something to explain life and deliver comfort doesn’t involve such drastic measures for most people, but it can lead to acute changes in their lives.
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What’s ingenious about the way Croon do their stuff is that most of the scenery appears from two reconstructed pianos. The pianos, or bits of them, become a sandy dessert, a western frontier town or a graveyard, and from their flipsides the bank and saloon are revealed. The puppets, toys and props are gathered from behind the pianos and worked in a very hands-on way by the two talented puppeteers Pod Farlow and Emily LeQuesne.
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. . . this show is really about connections and contrasts: the worlds of the ancient and modern; the people of the west and the near east; the playful occasions and the serious events. Small stories of families and bigger stories of international relations are linked together like a modern version of the 1001 Nights. An intense and vibrant piece of modern theatre.
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