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The Shadowmaster -
More Pan’s Labyrinth than master of shadows
THE SHADOWMASTER
King's Head Theatre
I KNOW I was at Stephanie Sinclaire’s self-directed adaption of JM Barrie’s play Dear Brutus – a magically mysterious piece that feels like a collision between A midsummer Night’s Dream and Willy Wonka and the Chocolate Factory – because I have pages of notes to prove it.
I even vaguely recall the JM Barrie original, which told the story of some apparently random guests who are invited to a dinner party and are invited by their Oberon- like host into the woods.
Here they are offered a second chance to realise their true natures.
However, I have a sketchy memory of what actually happened (and why) during the production.
Sadly, this isn’t entirely due to the The Shadowmaster’s fairytale feel. It’s just that the show’s 95 minutes hurtle by so quickly (there’s even an interval) that many of the plot links become blurred, which makes for an intriguing but frustrating experience.
Sinclaire, who adapted Barrie’s more celebrated Peter Pan in 2006, clearly adores Dear Brutus and therein, perhaps, lies the problem: she is too close to the work to see which parts need elucidation. Surely an outside director would have imposed more coherence.
Fortunately, the play’s “Free Your Mind and Your Ass Will Follow” message, and Georgia Lowe’s gorgeous gauze and ivy set make up for a less than captivating ensemble company.
Moreover, there are some truly arresting individual performances to enjoy. I was particularly taken with Neil Henry’s weirdly louche servant, Matey, and Keith Faulkner plays the master of ceremonies, Lob, like Gene Wilder on angel dust. Meanwhile, Helen Anker transforms enjoyably from stuffy Lady Caroline to lively woodland sprite.
Yes, The Shadowmaster casts a spell, but it’s one that involves leaving the theatre scratching one’s head and wishing for a second chance to grasp what’s just unfolded.
Better exposition and a tighter cast, however, would render this adaption unmissable.
Until September 7
020 7226 1916 |
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