Reviewed Saturday 10th April 2010
Presented by Unseen Theatre Company
Venue: Bakehouse Theatre, 255 Angas Street (Corner Cardwell Street), Adelaide
Season: Runs to 24 April (Wed to Sat) at 8pm
Tickets: Adults $18, Conc $15, Groups (10+) $14, Fringe Benefits $14
Bookings: www.bakehousetheatre.com (no booking fee) or 8227 0505 ($2 per ticket booking fee applies)
Sir Terry Pratchett has not allowed the onset of Alzheimer’s Disease to slow his creative output, Unseen Academicals, published in October 2009, being the 37th novel in his Discworld series (a 38th novel, I Shall Wear Midnight, is reportedly due for publication in September 2010). This book has, however, met with mixed reactions from his many fans, some loving it and others remaining singularly unimpressed. Once again, Stephen Briggs has attempted to adapt the novel for the theatre, with the company’s Artistic Director, Pamela Munt, working hard to make it functional and fit it all into the intimate Bakehouse performance space.
This time, Pratchett looks at the sporting life of Ankh Morpork and, in particular, the game of football (referring to real football, or Soccer). This is a street game of excessive violence, where players frequently die, and The Patrician, Lord Havelock Vetinari, had attempted to discourage it. This is something of a problem for the wizards of the Unseen University, as Ponder Stibbons, the clean shaven Master of Traditions (amongst his many other titles), has discovered that a bequest, which pays for most of their food, requires that the University field a foot-the-ball team or the payment will cease.
Much of the humour in Pratchett’s books is in the descriptive work rather than the dialogue so any adaptation becomes more about what is left out, rather than what goes in. This script has humour running through it but not as much as some of the previous productions.
The Archchancellor, Mustrum Ridcully, goes to see the Patrician in the hope of persuading him to allow the playing of the game, only to find that he has already decided to permit football matches, but with a new set of rules imposed. These rules include such novelties as the use of an official ball and the banning of the use of hands. The rules also, unfortunately, prevent the wizards from using magic. The University team is assembled, wisely putting the Librarian, an orang-utan, in goal, thus making good use of his extended reach. Training, however, is rather chaotic, as nobody seems to be able to follow the new rules or even come to terms with the rudiments of the game.
A very skilful tin can kicking street urchin by the name of Trevor Likely, son of a famous but deceased Ankh Morpork footballer, has promised his mother never to play because his father died in a match. He is friends with the extremely erudite candle dribbler, Mr. Nutt, a most unusual goblin who eventually takes over the training of the team. They then find that their first match is against the roughest, toughest and dirtiest of teams.
Meanwhile, Glenda Sugarbean, who runs the Unseen University Night Kitchen and makes ‘jolly good’ pies (the unofficial motto of the University is η β π, or Eta Beta Pi, pronounced Eat A Better Pie), finds herself attracted to Mr. Nutt. She is assisted by the rather dim kitchen maid, Juliet Stollop, who meets Trev when he visits Glenda. They also find a mutual attraction. Juliet, however, is ‘discovered’ by the high camp clothing designer, Pepe, and fashion house owner Madame Sharne and looks like becoming Discworld’s first supermodel, parading on the catwalk in a false beard, to look like a dwarf, and wearing designs made with a finely woven, non-chafing form of chain mail. To add to the dubious romantic atmosphere of this book, Lady Margoletta, from Uberwald, visits Lord Vetinari, adding extra fire to existing rumours about their possible relationship.
Trudi Pavlovsky opens the production, and reappears at various times, providing the necessary narration in the role of journalist, Sacharissa Crispslock. She certainly looks the part, but could be a little less measured and more matter of fact or journalistic in the delivery of her monologue, giving more impetus to the opening. The whole performance, in fact, tended to suffer from a lack of pace and, strangely, that usual high level of energy and enthusiasm that is normally associated with Unseen’s productions was not always in evidence this time.
Amanda Flynn flounces brightly around the stage as the naïve kitchenmaid, Juliet, reminding one more than a little of the bubbly characters portrayed by Barbara Windsor in her younger days, right down to the late 1950s hair style. If only her energy had flowed on to some of the others. David Dyte stands out as Mr. Nutt, in a nicely measured performance that endears his character to the audience. He conveys the inner turmoil of the character as he attempts to come to terms with his racial background and his new situation, seeking to find his worth. Mark Ormsby, as Trev, is a good choice for the other half of this dynamic duo, their scenes together being among the highlights of the production.
Samm Blackmore takes the role of Glenda Sugarbean, giving us benign, protective, and authoritative ruler of the kitchen and self-appointed guard of Juliet in a neatly crafted interpretation. Philip Lineton seems, once again, to struggle with his lines, although his characterisation of Lord Vetinari fits him like a glove. The Wizards, Paul Messenger, Hugh O’Connor, Alistair Preece, and Lineton give a good account of themselves and there is generally strong support from the rest of the cast.
The costuming is, as usual, very good and the set and lighting work well, although set changes get a little distracting. The loss of the interval to a ‘fashion parade’ is a drawback and this segment could be easily deleted as it really adds nothing to the story line.
Diehard Pratchett fans will, of course, overlook any shortcomings, delighting in the chance to see yet another of the Discworld stories brought to life.
Reviewed by Barry Lenny, Glam Adelaide Arts Editor.
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