PINOCCHIO

Dukes Promenade Season
Williamson Park, Lancaster

6 July - 11 August 2007

As I perched with my seven year old daughter on a mossy log in the mud in the middle of Williamson’s park, the first thing that struck me as Pinocchio, the 21st annual theatre event of its kind, began, was how odd it was that Pinocchio was being shadowed by his puppeteer, Spencer Charles Noll, who was making no attempt to conceal himself from the audience.

As he weaved and skipped around the stage, it was initially difficult to know who to focus on and at first it seemed a little absurd. The same could be said for the next puppet to appear, the grasshopper, which was perched on Michael Lanbourne’s head, as he skilfully manipulated its legs with a pair of sticks.

However, as the play progressed I could see how this approach actually drew me deeper into the play. The superbly designed Pinocchio, with his impertinent but loveable face, was given an extra level of expression by Spencer Charles Noll’s tender and sensitive performance.

During the darker scenes of the play, Pinocchio’s pleading voice was haunting as it echoed around the grounds of the park. The scene in which Pinocchio looks over the bay in search of his father was particularly breathtaking and had an air of surrealism and a dreamlike quality which was apparent throughout the play.

This was reflected in the music which was occasionally quite hypnotic and strange with some interesting arrangements. The park itself, though muddy in places, was used very well as the scenes shifted between a variety of evocative settings, and the lighting and sound, despite a few minor hiccups, was also very effective.

The sets, like the puppetry, had a certain sparseness which contrasted well with the vibrant and sometimes elaborate costumes. The aforementioned darkness did not seem to faze my daughter, perhaps partly a consequence of the fact that the play, adapted by Gareth Machin, is based on the original stories by Carlo Collodi as opposed to the famous Walt Disney film. 

Collodi’s Pinocchio has a strong moral message which, despite the story’s age, is easy for children to understand and relate to. The various misfortunes which Pinocchio experiences can be understood to be a consequence of his naughty behaviour, reinforcing the importance of the timeless virtues of hard work, honesty and respecting your parents.

The play does have a macabre edge that could disturb particularly sensitive children but despite one or two moments that seemed a little gratuitous, such as the slightly bizarre scene where the coachman bit off a donkey’s ear and spat it on the ground, the play was pitched at the right level to provide enjoyment for people of all ages.

Furthermore, the darkness was tempered by a healthy dose of humour and slapstick. Highlights included Lisa Howard’s daredevil squirrel, with its unexpected film reference, and Michael Lanbourne’s irrepressible performances as Lampwick, Pigeon and the Black Rabbit, amongst others.

It is important to point out, though, that all the actors did a fantastic job, especially as they all expertly juggled multiple roles. By the time the play reached its conclusion my daughter and I were gripped and I would definitely recommend a trip to see this play. It served as an excellent introduction to the Dukes’ open air theatre productions for me and we will definitely be coming back to see what they come up with next time. 

© 12/7/07 McDean