![]() And when the light, the video, the set and the puppets are working in concert, the effect is extraordinary, out of this world, like being plunged into a waking dream or strange alien landscape. From the terrifying, dominating, unknowable Richard Parker – who has six puppeteers assigned to him in various rotations – down to the shoals of luminescent flying fish, every puppet is a knockout. In the post-‘War Horse’ era we obviously expect a lot from our puppet pals, but this really is the good stuff: a vibrantly realised menagerie of beasts whose every breath is immaculately choreographed. ![]() Tim Lutkin’s lighting and Andrzej Goulding’s video are sublime, conjuring the unimaginably vast strangeness of the ocean.Īnd then there are Nick Barnes and Finn Caldwell’s puppets. ![]() Tim Hatley’s versatile set – for which the Wyndham’s stage and stalls have been physically remodelled – thrusts out into the crowd, full of hidden trickery, notably the lifeboat that pops out of the ground in a matter of seconds. Max Webster’s production is an out-and-out triumph for the technical team. This stage version of Yann Martel’s Booker Prize winner has to stand as one of the most visually stunning theatre shows I’ve ever seen, especially in the feverishly beautiful second half in which eponymous hero Pi finds himself adrift in the Pacific on a lifeboat inhabited only by him and a ferocious tiger named Richard Parker.
0 Comments
Leave a Reply. |