I started this blog as a way to compile all my theatre, film and book reviews and provide access information and debate on issues. I'll start with the most recent show I've seen, The Jungle Book at the West Yorkshire Playhouse. Contains spoilers. Enjoy!
In my role as a member of the local press through Leeds Student Radio's Arts Show, prior to this viewing of The Jungle Book,
I was invited to the West Yorkshire Playhouse's Spring/Summer Season
Launch where the theatre's Artistic Director, James Brining together
with Associate Director Mark Rosenblatt introduced some of the key shows
that will feature at the Playhouse in 2014 and took questions on them.
One question, which particularly resonated with me as a disabled person
myself, was how did the theatre and forthcoming programme reflect,
represent and cater for disabled people (be they audience members or
performers)? Brining was quick to point out that in April, the Playhouse
will host a recreation of Brecht and Weill's The Threepenny Opera,
produced by leading disability theatre company Graeae.
However, I feel
he failed to notice and acknowledge the work that has already been done
by the Playhouse in this regard (and which it continues to build upon.)
The West Yorkshire Playhouse has always been a bastion of accessibility
for many reasons.
- On a purely practical level, almost all its spaces for
wheelchair users offer full, unrestricted views of the stage in both
the Quarry and Courtyard Theatres (unlike, sadly, its neighbour Leeds
Grand Theatre and Opera House, although the age of the latter is largely
to blame for this).
- Disabled patrons who require someone to accompany
them can have their companion or assistant attend for no extra cost,
something which regular theatregoers such as myself are extremely
appreciative of, as always needing to pay for an extra ticket can
severely limit the number of productions a disabled theatre-goer can
attend.
- The Playhouse is also home to one of Leeds' handful of Changing
Places toilets, which are of huge benefit to disabled people with
profound physical and/or learning disabilities because they contain a
hoist and changing bed and even a shower! But disability is featured
(and catered for, the Quarry Theatre stage is level-access, facilitating
its use by mobility-impaired actors) onstage as well as off, and not
always in solely 'disability-related' productions.
In fact, mobility impairment underpins The Jungle Book, as the
villain of the piece, the tiger Shere Khan, is lame, symbolised by his
use of a stick to suggest a weakened limb. Aiso, his ally and informant,
the jackal Tabaqui, walks around on what look like shortened crutches,
to better mimic the gait of a quadrupedal animal. Because of this
physical deficiency, the character of Shere Khan must captivate the
audience with his words, rather than his actions. Actor Andrew French
does this to magnificent effect, supplying Khan with a voice like
melting chocolate which belies his evil intentions and therefore makes
the moment he 'pounces' all the more powerful.
But, just as the animals say 'the strength of the wolf is the
pack', the strength of this show is in the talent and versatility of
every member of its ensemble, not just the infamous villain.
Daniel
Copeland, in the role of the big-hearted but somewhat bumbling Baloo,
has such a booming voice, which, together with the character's earnest,
pedagogical passion (when teaching Mowgli the Jungle Laws) I found
reminiscent of Brian Blessed's 'The Addressing of Cats', from the
eponymous musical.
Ann Ogbomo's performance as Bagheera the panther reminded me strongly of Halle Berry in the role of Storm in the X-men film
series, not just because of her athletic physique but also because of
her quiet leadership when Mowgli is abducted by the monkeys. In showing
us the characters of both Baloo and Bagheera, writer Rosanna Lowe has
skilfully extracted from Kipling's novel in such a way that gives these
characters a much more nuanced character and history, which is barely
glimpsed in the Disney film. They are not only strong, wise teachers,
they are weak and vulnerable (best illustrated by Baloo's pitiful
dancing for Buldeo) and also simultaneously empathetic and tender
(witness Bagheera confiding to Mowgli that she too, lived with man
once). Although Ogbomo is responsible for bringing Bagheera's motherly
side to light, writer Rosanna Lowe deserves at least partial credit for
this because it is she who chose to reverse the gender of the panther
(in Kipling's book and the popular Disney film, Bagheera is male). If
time and artistic priorities allowed, I feel an interesting connection
could have been made between Bagheera, Mowgli's guardian in the jungle
and Messua, his protector amongst the people. Maybe that's something for
the sequel!
Just as the play borrows from the book, so the staging of The Jungle Book is
influenced by other film-musicals. Many different techniques are used
to create a multi-faceted visual spectacle, including flying birds on
sticks (borrowed from The Lion King musical) usage of puppets,
(the baby Mowgli is adorable, as he is posed on Council Rock like
Simba's unveiling). Because the people who transport the baby Mowgli are
amongst the wolves, the transitions appear seamless and the sticks upon
which the kites fly just another piece of elaborate foliage. Every
creature is conceived to the finest detail, no matter how fleeting their
appearance, even the baby boar Mowgli chases, which is another source
of humour, tenderness and character development that shows just how
thoroughly this show has been staged. No prop or set-piece is skimped
upon, from the real water hole that houses the crocodile to the branches
and ropes that Mowgli must really climb and swing from.
Visually,
the costumes are captivating, but none more so than that of the snake,
Kaa. Her sequinned skin shimmers hypnotically and draws the eye
inescapably while her soporific voice lulls the ear. Cait Davis is
unique among the cast as she plays the character of Kaa while the snake
body is a puppet coiled around her, yet moving simultaneously. Her voice
and the puppet's movements are so seamless and entrancing, however,
that one almost forgets that they are separate and it feels like she is
inside Kaa, and merely throwing her voice like a ventriloquist. Rachael
Canning deserves credit for this innovative puppet design. I also loved
how the lyrics of Kaa's song were in and of themselves sibilant and
snake-like: 'squeeze you till you scream'.
I
also loved the symbolism of the costume choices. The resistant wolves'
red eye-goggles, resembling the sightlines of a shotgun, represent how
they, blinkered and baited by Shere Khan, come to see Mowgli as an
interloper who must be eliminated. They do however present their true
selves to him, unlike the mob from the man-village, who remain masked
when they plot to oust Mowgli.
Shobna Gulati is
passionate as Mowgli/Nathu's human mother Messua, showing that a
mother's love and protectiveness transcends both countries and species,
although the elements of a Yorkshire accent that creep into her
portrayal do provide humour for those who know her as Sunita from
Coronation Street, as do her attempts to force Mowgli/Nathu into a
football shirt! But it is a nice touch which keeps the show current and
local.
In moral terms, too, the play has a
good message. Dulia, Mowgli/Nathu's sister in the Man Village, calls him
'Dirt Boy' but once he throws dirt on her they realise that though they
may 'jibber jabber jibber jabber' in foreign tongues, underneath they
are all the same.
The perfect antidote to the
cold damp weather, The Jungle Book is a feast for the eyes and poetry
to the ear, so make like a cheetah and run to see it before it's gone!
Disability Equality and Access at the West Yorkshire Playhouse: New Relaxed Performances
The
Playhouse has always been a theatre dedicated to equal access for its
disabled patrons, offering a wide range of access features such as
Captioned Performances, Signed Performances and Audio-Described
Performances, The Jungle Book is the first show (of which I am aware) to
offer a Relaxed Performance. This is a performance aimed at disabled
people who may not be able to access standard theatre performances do to
the way they respond to the show (for example vocalising and needing to
move around during the show.) Relaxed Performances are so called
because there is a relaxed attitude to movement and noise from audience
members. Often, the volume of music and sound effects is lowered and
house lights may be left on or muted, for the benefit of anyone for whom
bright lights and/or loud noises are detrimental to their enjoyment.
Although it takes place at 11am (on Tuesday 24th January 2014) the
Relaxed Performance is neither billed as nor restricted to, children, or
people with specific conditions such as autism, which are most
popularly associated with the sensory and behavioural quirks that make
Relaxed Performances so valuable and appreciated. I also appreciated
this small yet significant linguistic gesture, as I do not have autism
but have always approached shows with loud, sudden noises with anxiety
(and ear plugs!) My personal hope/dream would be that the lovely staff
at the Playhouse would, perhaps with the contacts of Jungle Book
director Liam Steel (who choreographed the film) approach director
Cameron Mackintosh and persuade him to put on a Relaxed Performance of
the epic (but gunshot-heavy) musical Les Miserables. New Year's
Resolution please Mr Steel??
The Playhouse offers its Relaxed Performance of The Jungle Book on 14th January 2014 at 11am.
Its other access performances are:
Audio-described Performances: 9th January 2014 at 7pm and Thursday 16th January 2014 at 2pm.
British Sign Language (BSL) Interpreted Performance: Wednesday 8th January at 7pm.
