Old Vic Tunnels , Royal Albert Hall, London
Young Vic production
The Rime of the Ancient Mariner premiered at the Festival of Epidaurus in Greece last year. Coleridge's poem, published in 1798 (not to be confused with the Iron Maiden track of the same name in 1984
Powerslave album) is the voice of the actress Fiona Shaw, who performed the work with the dancer Daniel Hay-Gordon. Phyllida Lloyd directs, in collaboration with choreographer Kim Brandstrup. Although only an hour, it is an unforgettable theater with old Vic tunnels that provide an environment conducive to the funeral. Acoustic space also works well, offering precisely the vaulted chamber Shaw is grater, hissing and nuances.
The poem, one of the earliest examples of British romanticism, tells the story of a sea voyage to the Antarctic, during which the Mariner undergoes a series of supernatural punishment after shooting guide Albatros boat. Shaw expressive range efforts involving many changes symphonic poem, indifference ("Why did you look'st well? With my crossbow I shot the Albatross", shrugs, in denial of the importance of occasional action), a gnawing guilt and horror frozen tormented. And it is more than ably supported by the affable Hay-Gordon, whose flexibility lends itself easily to many characters to move. Hoop sustained and tenacious Mariner bright eyes, noble and width as the wings of albatross, crumpled hat disreputably as wedding guest (the latter characterization certainly Cruickshank engraving given life). Brandstrup wisely limited to a minimum of dance moves that say.
But for all the virtuosity of the performers and Brandstrup Lloyd and conceptual skills, I thought more than once if the action staged by our recognition of descriptive words gothically Coleridge. When we hear the figure of the ghost ship "Her lips were red, her looks were free, / His hair was yellow as gold Her skin :/ was as white as leprosy / nightlife-mare DEATH was she, / Who thicks man's blood with cold ", you really need to see a physical representation with masks? On such occasions, I felt dramatic tautology: Short imaginative engagement required by the poet. There was a time, too, when Shaw delivery seemed too sophisticated. rhymed stanzas Coleridge suggest moods and developments of the sea, rigidly frozen ("The ice was here, the ice was there, / The There was ice everywhere :/ broke up and growled and roared and howled ... ") or deadly calm (" Day after day, day after day, / We stuck, nor breath nor motion ") and seem to require simple rhythms of the study hall instead of a more discursive treatment which is applied here. In a perfect world, we could also see Hay-Gordon improvising these seascapes, using the ebb and flow eloquent than last year Ravel
Three poems by St?phane Mallarm?
But companies like State NoFit remember, circus routines can provide more polished sheen and technical sophistication. They can also offer wit, charm and a sense of connection with the artist. Cirque du Soleil and falls flat here. Kooza