In the Mirror Tent at the MINI Plant, Oxford

27th November – 16th January, 7.30pm

“Venetian-masked ushers bearing lit flares and long dresses aren’t a bad introduction to Creation Theatre’s 2009/10 attempt. This rapidly continues into Daniel Bye’s writing, which is sensitive, creative, and largely very well done.” Ashley Werner-de-Sondberg ★★★★★

“I went away feeling young again. And I’m not even old, so that’s just brilliant.Catch this enchanting show if you can.” Sam Baker ★★★★★

Beauty and the Beast ★★★★★

Review by Ashley Werner-de-Sondberg

Beauty and the Beast poses problems to those ambitious enough to attempt to rewrite it. The retelling of one of time’s most beautiful, well-known and biggest fairytales is no small task, after all: it’s the one whose headstrong heroine’s discovery of inner beauty transforms the achievement of true love into a real-life and universal goal. Can strong ambitions truly still make something which impresses? And, against a backdrop set by the likes of Cocteau and Disney, is it really still possible to bring something there that wasn’t there before?

Venetian-masked ushers bearing lit flares and long dresses aren’t a bad introduction to Creation Theatre’s 2009/10 attempt. This rapidly continues into Daniel Bye’s writing, which is sensitive, creative, and largely very well done. Relying on the framework set out in Villeneuve’s eighteenth-century French telling, the work keeps a strong hold on its well-known, traditional aspects whilst also receiving a twenty-first century, family-friendly remodelling as the ‘Story of Bella’. This modernisation occasionally brings a tendency to lapse into farce, but is generally well-controlled and offers a genuinely broad range of appeal. Particular highlights include a move through nations to comically examine national stereotypes (this is, though, a little overdone in its length, and the inclusion of an entire song in German may serve to alienate more audience members than it wins over in its quirkiness – was this included as a cheap nod to Creation’s Bavarian sponsors?) and the dramatic, touching scene in which ‘Bella’ (Laura Sanchez) convincingly realises her love for a then-supposedly-dead ‘Beast’ (John Dorney).

What most gives this production its edge in addition to its writing, however, is its well-directed and broadly-talented cast. In what is, at its core, a version of the story aimed primarily (although far from exclusively) at children, the six-strong cast bring life to the stage in their enthusiasm, dramatic skill, well-planned movements (aided by the circular stage of the bazaar-like ‘Magic Tent’ at Oxford’s Mini Plant) and willingness to interact with their audience – both with frequent eye-contact and, on occasion, humorous direct referencing. This level of ability makes for a pleasurable, engaging two hours which would happily be repeated for the efforts of all members – Creation is truly working with professionals in its efforts on this show.

Particular reference in this regard should be given to Jack Merivale for his role as a ‘Musician’: much of Tom Attwood’s original musical score, although seldom elaborate, revolves around Merivale’s self-directed live performances. These are appropriate, enjoyable and supplemented in their effect by his ability to stay strongly in character throughout their lengths. All cast members contribute strongly to the show’s music, however, and the overall impression given is one of broad, universal talent – Sanchez’s voice as the lead would benefit from increased power, but this does not significantly detract from the performance. The number of songs in a feature billing itself as a ‘musical’ could perhaps also have been profitably increased at the expense of sometimes-lengthy sets of dialogue, but this was similarly not a deciding factor in the production’s success.

Technically, everything is equally  well put together: the lighting is astoundingly variable and atmospheric (again set well against the mirrored walls and gold ornamentation of the venue), the costumes colourful, numerous and – particularly in the case of the Beast – elaborate, and the occasional use of trickery, most notably with a rose of changing colours, a welcome and unexpected addition. Sets are kept simple and minimalistic, and this must be similarly appreciated for the benefits it affords to quick scene changes and the ability of cast members to move around freely.

Has Creation managed to bring something new to this classic? Perhaps, but certainly not entirely: their ‘alternative Christmas fairytale’ achieves much more as a comical, engaging modernisation than as a total reworking of a traditional story. This, however, is no bad thing, as it allows the elements which make the original so universally compelling to remain, and to be furthered by a talented and compelling cast backed up by excellent direction, live music and technical consideration. It certainly isn’t as gritty or as fantastical as some of its iconic forebears, but Creation’s version of ‘Beauty and the Beast’ is a successful, light-hearted and family-friendly affair which strongly captures a world of innocent make-believe – as fitting for children and hopeless romantics as it is for all those in between.

Beauty and the Beast ★★★★★

Review by Sam Baker

Enchanting. Dazzling. Magical. Extraordinary. Slightly bizarre.Very well worth seeing.

It is quite not what you’d expect from a production of what is arguably the worldsbest ever fairytale. And yet that has become such a trait of the marvellous Creation Theatre Company. Always catching you out. In the most perfect of ways, always out to surprise you.

No Oxford theatregoer can get away with not knowing about Creation Theatre. And all lovers of fairytale genre, young, old, passionate and passionately silly should make it a top priority this Christmas season to make the trek up to the BMW Mirror Tent to catch this extraordinary show.

The experience begins as you enter that enchanted mirror tent, placed in the BMW car park, rather like the way Narnia is found in the wardrobe. Enter the tent, and try to resist the devilishly-good smelling Pancakes and Mulled wine served on the right as you walk in (place an interval order to avoid nasty queues). Then enter the enchanted cave. Be dazzled by the décor and setting that takes you into a pseudo-Romantic Mid-Eastern-European Gypsy-bazaar. Tables and chairs are fitted around a sizable central stage space. The action is in the round. The actors occasionally run riot around the stage past the tables and chairs. There are some marvellous costumes and inspired use of the round space.

As said, a complete surprise in many ways. And not without warning, as you notice: it’s the “alternative Christmas fairytale” of the season. Sixstars, who in my mind can only be the liveliest actors and actresses around, succeed in putting on a truly sweet and enchanting version of the classic fairytale, adapted especially for this production by Sarah and Daniel Bye. And goodness knows, there have been many adaptations. This one definitely brings out the best in family-oriented theatre, crucially without being pantomimy and silly. There is something for everyone in this piece. Be warned of a slight small-childish style, but with this advanced partial-cheese-alert, do also be assured of great value entertainment, and as part of the many fabulous surprises, go along prepared to be transported not only to the Castle of Mandrayak(that’s the Beast’s human name), but also expect short and hilarious visits into Germany and China and back. Really really off the wall and charmingly funny, in a splendidly naïve way if you’re in the right sort of mood. One for the kids and the kids at heart, shall I say…

The music has been composed especially for this production. It’s all been a real innovative project, a part-and-parcel of the key (and rather obvious from their title) Creation message: creativity. This is seen also in their various children’s workshops run in Oxford throughout the year.

While some of the singing leaves you in almost no doubt as to the performers’ exceptional capability, the acting and energy definitely makes this a satisfying production, if for one reason at all, then for the professionalism of the actors involved.

I went away feeling young again. And I’m not even old, so that’s just brilliant.Catch this enchanting show if you can. Best enjoyed in the company of fellow fairytale fanatics; of whatever age really, as long as the Magic still runs in one’s veins, it can only be a hit.