Faeries
SL Productions, George Square Theatre

Faeries is based on the story of the Cottingley Fairies. For those familiar with the historical facts, there will be some moments of confusion during the show as it plays rather hard and fast with the truth. For example, when the first photograph was taken Elsie Wright was sixteen; here she is played, like her cousin, as a ten-year-old girl. There are some enjoyable songs, and I can’t fault the cast’s singing voices. A simple set is used well, and fairies constantly flitter about at the back, eavesdropping on the events taking place. However, the show falls between several stools: it’s never quite sure if it’s a children’s show (it is about fairies after all), a love story (yep, there’s some love interest in there for good measure) or an opera.  If SL Productions had chosen one genre and stuck with it the resultant show would have benefited. Still, and despite the factual changes, it’s an entertaining performance.
 

Jabberwocky
Grapple Theatre Company, C cubed

Unlike Faeries, Jabberwocky knows exactly where it’s coming from – it’s a kids’ show (although not suitable for the very young) complete with audience participation (“boo” or “hooray”) when certain names are mentioned.  The lead is not the strongest actress but she still manages to pull off the part of Bob, the potential Jabberwocky slayer.  Adding in elements from a number of fairy tales for good measure and a bit of pop culture (the King choosed a suitor via Blind Date rather than the more traditional Jabberwocky slaying) the whole production romps along at an enjoyable pace.  A troupe of actors who are obviously enjoying themselves manage to communicate their enjoyment to all present and you leave with the slightly adapted lyrics of ‘Bohemian Rhapsody’ echoing in your ears.

David Almond’s ‘Clay’
Yvonne Arnaud Youth Theatre, Augustine’s

An altogether darker show and one not aimed at children.  This show was a bit of an unknown for me; it mentioned something about a character bringing clay creatures to life in a fight situation, so I set off to see it fresh from reading FT’s excellent Golem article [FT238:30-37].
Set in Felling, Gateshead David Almond’s ‘Clay’ is a story of bullying and growing up, a story of differences and attitudes.  A story of imagination.
Stephen Rose, newly arrived in Felling, is befriended by Davie and Geordie, who are in turn terrorised by local bully Mouldy.  Stephen is a complicated character who makes clay figures which he can apparently imbue with life.  A perfect weapon against Mouldy perhaps?  As the journey unfolds many complicated themes are explored and the main cast are complemented by a chorus who ably carry out all other roles.  The depiction of the main clay creature is imaginative and, it must be said, a little spooky.
A good story, a good cast – it’s a shame it didn’t have a bigger audience, it deserved it.

The Elephant Man
Proteus Theatre Company, C soco

Everyone is more or less familiar with the story of Joseph / John (thank you Frederick Treves for that bit of confusion – for the record he was christened Joseph) Merrick so what new twist could Proteus Theatre Company’s The Elephant Man add?  Well it’s a simple twist – make the whole show a tour de force of entertainment!
A one man show performed by Saul Jaffe, the whole event bristles with energy.  Jaffe starts off by climbing through the audience as he makes his way to the stage, keeping up a monologue as he goes.  Once on stage he changes from character to character with just a simple alteration of his stance or contortion of his face.  The first appearance of the Elephant Man is spectacular and the horror he is trapped in is beautifully conveyed.  A minimal set is made great use of and even includes, for no reason at all, a trapeze.  Yet even when Jaffe is hanging from this there is no sense of incongruity.  A performer of lesser ability would struggle, but Jaffe carries the whole show off with great aplomb, bringing a tragic story poignantly to life.