At the Sherman |
| The Sherman Theatre Company- Shadow of a Boy , Sherman Theatre Cardiff , February 18, 2005 |
| The Boy, Luke’s shadow is in fact a bemused spaceman of his imagination, played with delicate circumspection and warm humour by ubiquitous Welsh actor Russell Gomer. The 11 year old boy is given a spot-on and exciting performance by the first of two gifted young actors, Oliver Wood. The second Catrin Rhys creates an amazingly accurate and well-observed performance of a 10-year-old girl. Before the time of the play Luke lost his parents in a tragic car accident and is being cared for by his Nanna. Remembered for her great performance in Sherman Artistic director Phil Clark’s acclaimed production Caitlin Helen Griffin once again gives us a fine lesson in the art of acting. Her ability to involve and captivate her audience is something the other members of the cast, though excellent, could well learn from. This enthusiastic team is brought together under the precise, intelligent and wise understanding of Alison Hindell’s direction. She is and has been for some time Senior Radio Drama Producer for BBC Wales. The years of staring through a glass window at actors standing around a microphone has in no way diminished her understanding of the very different techniques of the stage. Such quality professional work has to be instigated by a very fine piece of theatre writing. This is precisely what young Welsh writer Gary Owen has given us. The unique use of language that Owen embarked on with his first play Crazy Gary’s Mobile Disco and in his latest the Theatre-Wales award winning Ghost City was not so prevalent in this somewhat more naturalistically written work. Not that the play is without tantalising ambiguities, the spaceman, Shadow, here to consider whether the planet Earth and its people qualify to enter the wider universe of higher civilisation, which at first it fails to do, could be something far more of a universal pre-occupation than a simple figment of Luke’s imagination. Religious belief is set against secularism but the playwright does come down on either side. The nub of the play stems from Luke’s growing need to embrace and develop a deeper understanding of the world around him, as he stands on the brink of entry into the bewildering environment of the Comprehensive school. The younger, though more worldly-wise Katie teases him continually about his naivety. He is more vulnerable as a result of Nanna’s strict and Christian upbringing. Is Christianity the best preparation for the real world? The two children are unaware but a true bond of affection begins to build up between them. Goaded on by Shadow, Luke finds Katie’s vulnerable spot. For the first time she makes a demand, a claim. How does Luke respond? The theatrical excellence is continued in the dynamic vision of Jane Linz Roberts’ set design and the complementary lighting of Keith Hemming. A well-rounded and very satisfying, delightfully entertaining and high quality artistic work. |
Reviewed by: Michael Kelligan |
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