Lord of the Flies, Matthew Bourne's New Adventures & Re:Bourne, State Theatre, Arts Centre Melbourne, Saturday April 8th 2017
"Lord of the Flies" from the novel by William Golding has been adapted by Matthew Bourne's New Adventures & Re:Bourne, and was presented at the State Theatre, Arts Centre Melbourne, Saturday April 8th 2017
For those new to my blog I write about the holistic experience of attending the theatre. I buy my own tickets. So if you want a re-telling of the story please refer to the links for further information or for further insights. Note, that I may provide different links for repeated main words or phrases. I write for my memories of what I have seen, and is more of a stream of consciousness.
"Lord of the Flies" is co-directed by Matthew Bourne and Scott Ambler, while "Lord of the Flies" is choreographed by Scott Ambler, who uses a variety of styles of movement to encompass so many emotions and atmospheres. Scott Ambler has created iconic moments from the book and translated them to the stage with clarity and finesse. His movement vocabulary expands from the archetypal to more specific.
The set and costumes are designed by Lez Brotherston who has succeeded on many fronts with the versatility of the available props and staging levels. The set is a stage of a deserted theatre. The boys begin in crisp school uniforms and gradually these change due to the circumstances. The costumes on the racks should have been covered to be kept so clean, or, they should have been dusty to heighten the realism of a deserted theatre. This took away an edge of the drama.
The transposition from an island to a disused theatre works and the set reminded me of the 2011 revival of "Follies". This work would be so much more haunting in a venue similar to the old HSV Tele-theatre where "The Rocky Horror Show" played in Melbourne in 1975.
Scott Ambler's choreography has succeeded on many fronts, beginning with the precision of the boys marching during their opening entrance. The boys are in years and size order as they create a distinct school grading hierarchy. They vary the formations to highlight their discipline and ability to follow instructions. This is ominous as we readers know what is to come. The subsequent formations and patterns highlight the passing down of traditions via a system within well drilled disciplined school. What were the young boys to become in their formative years was shown by the older boys. There is so much depth in the simplicity of the patterns: as we are watching their fate within this opening: to become like the older boys. All of the the young dancers were accurate and precise in their movements and would make the production team very proud indeed.
My heart leaped a beat of joy, as many of these young boys and men are having opportunities that will influence them for the rest of their lives.
Gradually the boys relax and become playful as they discover the insides of the derelict theatre. This is where the choreography and staging becomes more complex. Each boy has a distinct personality and they are responsible to tell their character's individual story. The action is more staging rather than dance choreography and each boy has their moment to shine. The staging is complex and integrates lots of small groups and duets and cameo solos to allow us to get to know the different characters. Each boy has a unique way of moving for their character, some more defined than others.
There are some clever and theatrical uses of the 44 gallon drums to create cars and tanks that paid homage to the pedal car from "The Flintstones".
A duet of gymnastic boys hung and swung on the poles supporting the main structure, with great precision and lovely lines.
A drumstick is discovered and replaces the conch from the novel. The staging and choreography of the drumstick sequence is so clear emphasising the rules of listening to who holds the drumstick and the democratic process used by the school boys.
As the day becomes darker, mobile phones are taken out and used as torches to discover the theatre. A search party is sent out to find food and water. This group goes into the audience. They return with boxes of potato chips, sweets and water. Wearing hoodies is reference to modern culture that challenges our traditional image of hooded youth from hoodlums to survivors or food saviours.
Simon (Patrick Weir) helps supervise setting up shelters and also is aware of protecting the younger and more vulnerable boys. There is so much depth in these scenes that I cannot keep up with each of the characters. I try to go with the flow. I want to absorb so much of this production.
Gradually the boys turn to discovering, playing, and play-fighting until disorder eventually ensues.
There is the famous pig hunting scene when the pig is beheaded and put onto a stake as a badge of honour. There is short sequence that reminded me of Ravel's music and Maurice Bejart's ballet "Bolero". This creates such a powerful image that is more disturbing due to their youth.
The fire smoke signal scene is used to also keep the boys warm.
There is the power struggle between Ralph (Dominic North) and Jack (Daniel Wright) with a duet power struggle/fight sequence. Both men dance with conviction and unrelenting intensity. Jack (Daniel Wright) develops from a confident strong man to a savage.
Piggy (Luke Murphy) assures Ralph (Dominic North) and supports him of his leadership role. They join allegiance in fear of what Jack might become. They use the clothes racks as shelter and protection and cover from Jack's gang.
Jack (Daniel Wright) breaks Piggy's glasses. Piggy (Luke Murphy) goes searching for his glasses in a moving solo of pain and vulnerability.
A ghost or a stranger appears from the orchestra pit and I think this represented the corpse of the fighter pilot . The young boy Percy (William Gilchrist) with his teddy bear sees the dead body and is frightened and seeks cover.
The dance becomes a ritual, that is tribal and primitive, and reminds me of the savages dances in old movies including "King Kong".
There is a menacing and maniacal chase scene of savagery, up and over and under the tiered set of scaffolding. This chase is both dangerous due to the multi tiered set and the speed of the choreography. The whole cast danced this sequence with requisite desperation and intent.
A young man on stage right unravels a tethered rope, and appears to lower a moon. The various pigs dance a haunting pas de quatre in front of the moon to create striking silhouettes. Simon (Patrick Weir) dances with four pig characters in a haunting nightmare. Sadly, when pulling the rope back to raise the moon, the co-ordination alerted me that someone else must have been lowering and raising this large set piece in the wings. The entry of the moon entranced me by the magic of theatre, while the raising of the moon lost me by mistimed execution.
Some of the facial expressions and body language are priceless, while other expressions are forced and lacked a real connection to the emotional thread of the story. The tender touch of Freddie (Joseph Wise-Nash) checking on another boy was magical and honest. The shattering of the innocence of boyhood was played admirably Percy (William Gilchrist) with a clear arc of his character's story line. His hiding under the step comforted by his teddy bear was priceless.
The roller door, upstage, opens and an armed soldier enters. The boys are curious at his arrival, and gradually gain his confidence and leave - rescued from their ordeal. Ralph (Dominic North) sits at the front of the stage looking into the audience reflecting upon their collective experience and the future of mankind. This image is powerful as he could become the new theatre ghost.
Lighting design by Chris Davey enhances the various atmospheres to emphasise order, precision and discipline to the resulting fear, terror and savagery. Chris Davey does so in many ways including dimming, focusing, spotlights, back-lighting and side lighting. Lighting up the auditorium has a duel effect of the boy's exploring beyond the stage and more importantly exposes the audience members as potential victims or allies. This effect makes many in the audience sit upright and take stock that they are also exposed. This is a mirror to our world; as it could happen to anyone if you were in the boy's situation.
Music by Terry Davies builds from the military precision to foretelling doom to savage crescendos. Terry Davies' beat underscores many sections of the music to create a pulsating heart beat racing and trying to catch its breath.
There was not a weak performance in "Lord of the Flies", and Matthew Bourne, Scott Ambler and New Adventures & Re:Bourne should be proud of not only their theatrical work, but more importantly their work in developing these fine young men.
The calibre of the dancing was terrific and Matthew Bourne's New Adventures & Re:Bourne should be very happy. The younger performers were watching their role models and were being mentored as to how men dance with masculinity and strength. These fine performers were so well rehearsed and showed that dance can display so many levels of emotional sensibilities and human responses.
The transposition from an island to a disused theatre works and the set reminded me of the 2011 revival of "Follies". This work would be so much more haunting in a venue similar to the old HSV Tele-theatre where "The Rocky Horror Show" played in Melbourne in 1975.
Scott Ambler's choreography has succeeded on many fronts, beginning with the precision of the boys marching during their opening entrance. The boys are in years and size order as they create a distinct school grading hierarchy. They vary the formations to highlight their discipline and ability to follow instructions. This is ominous as we readers know what is to come. The subsequent formations and patterns highlight the passing down of traditions via a system within well drilled disciplined school. What were the young boys to become in their formative years was shown by the older boys. There is so much depth in the simplicity of the patterns: as we are watching their fate within this opening: to become like the older boys. All of the the young dancers were accurate and precise in their movements and would make the production team very proud indeed.
My heart leaped a beat of joy, as many of these young boys and men are having opportunities that will influence them for the rest of their lives.
Gradually the boys relax and become playful as they discover the insides of the derelict theatre. This is where the choreography and staging becomes more complex. Each boy has a distinct personality and they are responsible to tell their character's individual story. The action is more staging rather than dance choreography and each boy has their moment to shine. The staging is complex and integrates lots of small groups and duets and cameo solos to allow us to get to know the different characters. Each boy has a unique way of moving for their character, some more defined than others.
There are some clever and theatrical uses of the 44 gallon drums to create cars and tanks that paid homage to the pedal car from "The Flintstones".
A duet of gymnastic boys hung and swung on the poles supporting the main structure, with great precision and lovely lines.
A drumstick is discovered and replaces the conch from the novel. The staging and choreography of the drumstick sequence is so clear emphasising the rules of listening to who holds the drumstick and the democratic process used by the school boys.
As the day becomes darker, mobile phones are taken out and used as torches to discover the theatre. A search party is sent out to find food and water. This group goes into the audience. They return with boxes of potato chips, sweets and water. Wearing hoodies is reference to modern culture that challenges our traditional image of hooded youth from hoodlums to survivors or food saviours.
Simon (Patrick Weir) helps supervise setting up shelters and also is aware of protecting the younger and more vulnerable boys. There is so much depth in these scenes that I cannot keep up with each of the characters. I try to go with the flow. I want to absorb so much of this production.
Gradually the boys turn to discovering, playing, and play-fighting until disorder eventually ensues.
There is the famous pig hunting scene when the pig is beheaded and put onto a stake as a badge of honour. There is short sequence that reminded me of Ravel's music and Maurice Bejart's ballet "Bolero". This creates such a powerful image that is more disturbing due to their youth.
The fire smoke signal scene is used to also keep the boys warm.
There is the power struggle between Ralph (Dominic North) and Jack (Daniel Wright) with a duet power struggle/fight sequence. Both men dance with conviction and unrelenting intensity. Jack (Daniel Wright) develops from a confident strong man to a savage.
Piggy (Luke Murphy) assures Ralph (Dominic North) and supports him of his leadership role. They join allegiance in fear of what Jack might become. They use the clothes racks as shelter and protection and cover from Jack's gang.
Jack (Daniel Wright) breaks Piggy's glasses. Piggy (Luke Murphy) goes searching for his glasses in a moving solo of pain and vulnerability.
The dance becomes a ritual, that is tribal and primitive, and reminds me of the savages dances in old movies including "King Kong".
There is a menacing and maniacal chase scene of savagery, up and over and under the tiered set of scaffolding. This chase is both dangerous due to the multi tiered set and the speed of the choreography. The whole cast danced this sequence with requisite desperation and intent.
A young man on stage right unravels a tethered rope, and appears to lower a moon. The various pigs dance a haunting pas de quatre in front of the moon to create striking silhouettes. Simon (Patrick Weir) dances with four pig characters in a haunting nightmare. Sadly, when pulling the rope back to raise the moon, the co-ordination alerted me that someone else must have been lowering and raising this large set piece in the wings. The entry of the moon entranced me by the magic of theatre, while the raising of the moon lost me by mistimed execution.
Some of the facial expressions and body language are priceless, while other expressions are forced and lacked a real connection to the emotional thread of the story. The tender touch of Freddie (Joseph Wise-Nash) checking on another boy was magical and honest. The shattering of the innocence of boyhood was played admirably Percy (William Gilchrist) with a clear arc of his character's story line. His hiding under the step comforted by his teddy bear was priceless.
The roller door, upstage, opens and an armed soldier enters. The boys are curious at his arrival, and gradually gain his confidence and leave - rescued from their ordeal. Ralph (Dominic North) sits at the front of the stage looking into the audience reflecting upon their collective experience and the future of mankind. This image is powerful as he could become the new theatre ghost.
Lighting design by Chris Davey enhances the various atmospheres to emphasise order, precision and discipline to the resulting fear, terror and savagery. Chris Davey does so in many ways including dimming, focusing, spotlights, back-lighting and side lighting. Lighting up the auditorium has a duel effect of the boy's exploring beyond the stage and more importantly exposes the audience members as potential victims or allies. This effect makes many in the audience sit upright and take stock that they are also exposed. This is a mirror to our world; as it could happen to anyone if you were in the boy's situation.
Music by Terry Davies builds from the military precision to foretelling doom to savage crescendos. Terry Davies' beat underscores many sections of the music to create a pulsating heart beat racing and trying to catch its breath.
There was not a weak performance in "Lord of the Flies", and Matthew Bourne, Scott Ambler and New Adventures & Re:Bourne should be proud of not only their theatrical work, but more importantly their work in developing these fine young men.
The calibre of the dancing was terrific and Matthew Bourne's New Adventures & Re:Bourne should be very happy. The younger performers were watching their role models and were being mentored as to how men dance with masculinity and strength. These fine performers were so well rehearsed and showed that dance can display so many levels of emotional sensibilities and human responses.
I adore the story telling by Matthew Bourne, Scott Ambler and company as they make story accessible and understandable while many other dance works lack his clarity and precision.
I am saddened as I would like to see this production of "Lord of the Flies" again due to the depth of complex staging and specific direction for each character. At times, there was so much happening that I did not want to miss out on the growth (or demise) of each character. Mind you, the audience focus was central in the direction when required to ensure we did not miss out on the key elements of the story.
The programme for "Lord of the Flies" was good value as there was only one half page of advertisements on the inner back cover that showed the sponsors and partners. I wanted the programme to include a short synopsis of some of the key events or a summary of the adaptation of the book.
New Adventures & Re:Bourne is one of the most accessible dance companies in the world due to their rich collective of talent in this company. Matthew Bourne is a genius to develop so much talent internationally and I long to see this company again soon.
I am very keen to see more works by New Adventures & Re:Bourne, in particular The Car Man, The Red Shoes, The Sleeping Beauty, Cinderella, Dorian Gray, Nutcracker, Play Without Words, Highland Fling and Early Adventures as I have seen Swan Lake and Edward Scissorhands.
I am saddened as I would like to see this production of "Lord of the Flies" again due to the depth of complex staging and specific direction for each character. At times, there was so much happening that I did not want to miss out on the growth (or demise) of each character. Mind you, the audience focus was central in the direction when required to ensure we did not miss out on the key elements of the story.
The programme for "Lord of the Flies" was good value as there was only one half page of advertisements on the inner back cover that showed the sponsors and partners. I wanted the programme to include a short synopsis of some of the key events or a summary of the adaptation of the book.
New Adventures & Re:Bourne is one of the most accessible dance companies in the world due to their rich collective of talent in this company. Matthew Bourne is a genius to develop so much talent internationally and I long to see this company again soon.
I am very keen to see more works by New Adventures & Re:Bourne, in particular The Car Man, The Red Shoes, The Sleeping Beauty, Cinderella, Dorian Gray, Nutcracker, Play Without Words, Highland Fling and Early Adventures as I have seen Swan Lake and Edward Scissorhands.
Overall "Lord of the Flies" obtains an 8/10. My partner gave it a 5/10 as it went on far too long for his liking.
Note: (When researching the links for dancers and artistic staff, I found the 32 page Teacher Resource pack on the New Adventures & Re:Bourne website. I did not change my review and will read the Teacher Resource Pack to enhance my experience. This is what great theatre does - it lingers on.)
The five page synopsis in the New Adventures & Re:Bourne website is brilliant and I wish this had been included into the programme.
The five page synopsis in the New Adventures & Re:Bourne website is brilliant and I wish this had been included into the programme.
No comments:
Post a Comment