Its no meant attainment to revoke a 1,200-page book with a outrageous series of characters to a three-hour fool around featuring only 6 actors. But that is what adapter Joel Horwood and executive Alan Lane have finished with Alexandre Dumass good journey story The Count of Monte Cristo. The tract is precipitated and made easy and since a entirely difficult gloss.
But, though enchanting and amusing, the a difficult account to follow, generally after the daringly long-drawn-out years outlayed in the association of Edmund Dantes and Abb� Faria during their bonds in Château d"If. Lots of dancing, a bit of impromptu-style singing and splashes of swashbuckling fun dont have up for the rather extraneous point this economy version has been forced to adopt.
Not for the West Yorkshire Playhouse the inexhaustible prolongation values of the two-nighter version presented by Manchesters Royal Exchange Theatre in the 1990s. Instead, as the story unfolds, the expel improvise on Barney Georges workshop-type set with what competence be flotsam and jetsam cleared up on the Marseille seashore and costumes that have the see of Grannys dressing-up box.
The second half has zero similar to the melodramatic tragedy of the first. Too most is congested in, so that the significance of most characters is not rught away obvious. Its tough to caring about the predestine of these people whose stories overlie significantly, and whose discerning costume-switching, moustache-swapping identities combine in to a method of cartoon-like characters. Overhead, tabloid-style headlines keep us in the picture, Crikey Cristo! Danglars lady to wed dodgy Prince, whilst the mutation of the younger characters in to woohy party-goers is fun. But though Daniel Rigby is a convincing Edmond Dantes, and though the expel gives the all, the a onslaught to feel changed by the bigger issues of Dumass novel: hope, justice, vengeance, mercy, redemption and death.
To fifteen May (0113 213 7700)
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