Can I Read Book Of Dust Before His Dark Materials? – Bridge Theatre, London Nicholas Hytner brings a fire wizard feel to this adaptation of Philip Pullman’s fantasy play.
Lustful, free-spirited and industrious… Samuel Creasy, Dirbhla Molloy and Adya Ijaha as Lira. Photo: Manuel Harlan
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Decades ago, Nicholas Hytner’s Philip Pullman triumphed at the National Theater with Dark Materials. He returns to the world of research 12 years before Dark Matter with this version of the first volume of the second trilogy. Hytner exhibits a magical sense of speed, turning narratives into Pullman’s theatrical gold. The vestibule is great, but it is always imperdiet a, to say Feugiat, not to say feugiat.
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The arrangement is loosely based on Bryony Lavery without cutting us short on the story. Newborn Lyra Belakqua is being investigated by theocratic authorities after predicting the future of the Antichrist. Malcolm is the 12-year-old son of a restaurant worker (here a single mother), whom Lyra takes in with her fierce partner Alice.
Some of Pullman’s explorations of the nature of matter and consciousness are briefly summarized, although a bit more might be needed, as the main, ideological battle between science and the ideological forces of the left is reduced to pure economics.
Clear illusion… from left Sky Yang, Ella Dacres, Samuel Creasy and Heather Forster. Photo: Manuel Harlan
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In some scenes, Lyra is a real and terrifying child, which immediately raises the stakes and heightens the emotional response. Samuel Creasy, the adult actor who plays Malcolm, is roughed up to play a child. Laugh, be generous and then. Ella Dacres is her iron equivalent of Alice, and there is chemistry between them, but Lavery’s author doesn’t so much develop the novel as her own.
The dark forces clearly hurt: A woman’s body floats in the water, We hear the sound of a broken neck. Ayesha Darker, like Marisa Coulter, is a cultist who encourages college students to join the League of St. Alexander and Pip Carter and threatens to blow the whistle on predatory Gerard Bonneville with demonic hyenas.
This scene is full of danger and another change, which is a deep philosophical reflection in the book, but faithfully reflects the spirit of the original. For those more engrossed in Pullman’s character than Hitner’s, the piece falls short of perfection.
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It is no small thing that a story with so many nuns, monastic leadership, police brutality, secret protection of underground scientists and the secret service floats onto the stage in an orderly and unambiguous order. The characters never feel flat and have interesting intellectual complications. There are more characters than in Pullman’s book: the nuns break up, Malcolm brings the sad comedy, and the central points are cleverly delivered.
Bob Crowley’s magnificent design moves seamlessly from the Trout Inn to a conference, the inner world of Oxford University and then to a flood that fills the floor and walls, creating an effective stage illusion of Malcolm Canoe floating in the waves. Luke Halls’ video design, John Clarke’s lighting and Paul Arditti’s sound design combine brilliantly with beautifully designed images of transparent moving screens, trees and windows to create an immersive effect.
Most impressive is the production’s ability to keep close to Pullman’s trademark terrain and fantasy reality. As in Hytner’s previous work, the demons are puppets (fishers, lemurs, honey bees, each as fantastic as the next). Directed and directed by Barnabas Dixon, they are brilliant and glow from within like origami. Instead of ethereal, fantastic creatures, Jungian imaginations appear.
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Pullman, a so-called atheist, cannot resist the story’s misappropriation of biblical imagery, from the great flood to Herod’s hunt for the infant Lyra to the miraculous deliverance of that beautiful child, Jesus in the manger. Here are links to the best Christmas shows – insults. To protect user data, it no longer supports older versions of your web browser. Update to the latest version.
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