The play masterfully and metaphorically uses magic as a stand-in and aid for various socio-political issues. The play’s plot, though nothing ground-breaking, is darkly intriguing. Their portrayals of Skarthatch in flee form (yes, really) and the hunger birds were striking they worked together in tandem to bring the beasts to life. The play’s ensemble, though nameless and often faceless, are the beating heart of the play. It’s interesting that only the magical characters have names the mortals are all nameless, rendering them ordinary and unexceptional they could be any one of us. The play’s villain, Ursula/Skarthatch, is played to perfection by Charlie Brooks, who is best-known for playing Janine Butcher in EastEnders (one of the greatest soap villains of all time, with a fitting surname). Jacobs is convincing and sympathetic as a hardened mother whilst Williams is every bit as fabulous as one would expect the daughter of Dame Judi Dench to be. The former is played by Kemi-Bo Jacobs whilst the latter is played by Finty Williams ( Gosford Park, Angelina Ballerina). Lette lives with her strong-willed mother, Ginnie, and her wise, passionate grandmother, “Old Mrs Kimpton”. He soon befriends the strange but smart Lettie (played by Millie Hikasa, who steals every scene she’s in). He lives with his struggling but supportive father, Dad (Trevor Fox), and his sassy sister, Sis (Laurie Ogden). Ocean follows a young boy, simply called Boy (Keir Ogilvy), still reeling from his mother’s death. Whilst the former masterfully used lighting design to help establish the autistic main character’s way of seeing and being, the latter uses it, more conventionally but just as captivatingly, to create a world of magic. The National Theatre has applied a similar formula to Ocean. In some ways, the fantastical Ocean is similar to the real-world A Curious Incident of the Dog in the Night Time, one of the National Theatre’s most acclaimed productions, which premiered a decade ago. Whilst Ocean is obviously a fantasy novel, it has many relatable themes, such as family and finding oneself, which the National Theatre has brought to the forefront. The play’s success led to a West End transfer and now a national tour, with its regional premiere held at The Lowry. The two most notable have been television series: Bryan Fuller and Michael Green’s controversial adaptation of American Gods (2017), and Gaiman’s own adaptation of Good Omens (2019) – the novel he wrote with Terry Pratchett.Īlso in 2019, Joel Horwood ambitiously brought Gaiman’s The Ocean at the End of Lane to life onstage at the National Theatre. There have been several huge Neil Gaiman adaptations in recent years.
0 kommentar(er)
