A review of the final performance
by: Emily Shirtcliff
The last, glittering Arabian Night
At the conclusion of an unusually intensive run, the cast of Arabian Nights could have been forgiven for a tired or mechanical performance on Saturday night. However the adrenaline onstage was evident from the first moment and infected the packed out audience, creating what became a wonderful rapport of engagement between the two. The story is adapted by artistic director Nasser Memarzia from the ancient eastern tales 'One thousand and One nights', and follows the redemption of an evil King through the retelling of the stories of characters such as Sinbad the Sailor and Ali Baba. The concept allows for a great variety of theatrical styles and devices, which the company employ with confidence and panache.
The production moves fluidly through naturalistic storytelling, cheeky pantomime gags and abstract physical theatre to an intense climax that despite its contrast in tone to what precedes it, is a beautifully apt resolution to the story. The King (Ashley Wilce) is suitably despicable throughout, but is only given a real exploration in this final scene, in which Wilce gives depth to the character and together with Princess Scheharazaad (Penelope Tasker), this powerful climax is realised with a conviction that is engaging and sincere.
The eclectic styles employed by Mr Memarzia draw on the varied talents of the cast, the physical elements being particularly noteworthy. James Snee (as Old Man and Donkey) and Daniel Bianchi (as Sinbad) provide some remarkable moments of physical theatre and are a joy to watch. The ensemble pieces are impressive as the cast recreate a tree, a sea and a peacock, displaying a consistent and admirable teamwork onstage. This relationship between the actors binds the disparate elements of the production together, with characters such as Ali Baba (Nick Bunt), Morgiana (Sarah Cawley), Baba Mustafa (Gareth Fordred) and the Shah of Persia and Kasseem (both Liam Nooney) creating engaging dialogue and warm comedy that keeps us involved throughout. Another of the wide-ranging abilities displayed is an impressive level of vocal talent and control, with particular credit to Andrew Allen and Penelope Tasker, whose elegant diction contributes to the polished performance and the power of Memarzia's script.
Due mention must be given to the younger members of the cast who performed with confidence and conviction. Also to Rebecca Lee, whose production design is mature, innovative and simply stunning. It adds to the visual and multi-textured nature of the show, whilst the artful set allows for a resourceful use of space that keeps the action engaging and the scene changes slick. Lee's stylish shadow puppetry is one of many examples of the creativity that has gone into every facet of this production. Antony Allen's score is well-suited and musical, enhancing what is a multi-dimensional performance, and an evening of utter sensory indulgence.
If you've read this far, then you might like to see another rview by a member of the public by clicking this link: http://smacula.blogspot.com/2009/01/review-arabian-nights-by-cherwell.html
To see a copy of the cast list click here.
To see a copy of the creative team biogs click here.
To see a copy of the Adult Cast biogs click here.
To see a copy of the Child Cast photos click here.