Simple enjoyable stuff if you obey the basic rules |
At the Torch |
Torch Theatre- Danny and the Donkey Man , Torch Theatre, Milford Haven , December 6, 2002 |
There are several basic rules of thumb for the adult critic faced with a seasonal programme of shows aimed at audiences considerably younger than themselves. The first rule is that if you can hear more than 30% of the dialogue there’s something wrong. The screaming should deafen most of what the characters are saying, and Peter Doran’s production of the Torch’s annual crowd pleaser nearly succeeds. A bit of judicious cutting, especially at the stodgy beginning, should see it right. The second rule, the storyline, for reasons obvious, should not be too taxing. An adventure, a villain and assistant villain, a comedy character and a hero with whom the audience can associate (ie, young and not impossibly good-looking or bright or valiant) with some support from like-minded honest folk. Though, based as it is on computer games, it will probably be far too complex for the older critics. Young Danny (an outstanding Huw Bevan) fits the bill admirably: specs, nice (single) mum, not a fashion victim, sense of what’s right, gutsy. His friend, discovered by climbing into the console of his game station, is Agrid, the Donkey Man, a warrior emasculated (despite what sniggering adult readers may have inferred) by his animal metamorphosis. The baddie is Rinigar, a rather sexy (in a kind of sadomasochistic way) Ice Maiden, and the Tolkeinish plot is all about recovering a magic crystal by moving through different levels. The third rule is that the music should be at least catchy – and preferably not rehashed pop songs. James Williams’s numbers are a bit too much Pet Shop Boys sounding for my liking but some melodies are striking and others effective, with that valuable asset of making you think you have heard them before. The fourth rule is that you should be able to sit back and enjoy just looking at the stage (because you won’t hear or understand much). The fifth rule – well it goes on. Best not to think too deeply. Peter Doran’s own script only occasionally gets too wordy and never patronises – it’s a fine, fun show and it’s good to see Royal Welsh College of Music graduates like Kyra Williams, Louisa Tee and Lee Mango in the Company. |
Reviewed by: David Adams |
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