"Around The World In 80 Days"
by Jules Verne - The Reviews
MUCH HADHAM DRAMA GROUP “Around the World in 80 Days”
Directed by Will Jamieson
Reviewed at Much Hadham Village Hall on Saturday 20th May 2023
I have reviewed many shows for Much Hadham Drama Group, but this was the first time I had seen one of their productions performed “in the round”. Indeed it was the first time, I was reliably told by Chair, Sue Clarke, that the society had staged a production in such a way.
On entering the hall we had to pass the performing space to reach our seats and were aware that the only stage props appeared to be a pile of suitcases. These though were not your average suitcases but rather magnificent pieces of large luggage from a bygone age and presumably about to perform multiple functions. Having previously seen a play directed by Will and in similar minimalist fashion, I knew he had the vision required to make it work, so I was really looking forward to what was in store.
Jules Verne’s novel of the same name was first published in the late 1800s and has become a classic. Having accepted a wager from members of his gentlemen’s club that he can circumnavigate the world in 80 days, Phileas Fogg sets off, with his loyal valet Passepartout, to achieve his aim,
Mark Edwards was well cast as Phileas Fogg. An excellent portrayal of an English gentleman of the period, remaining calm under pressure and never faltering in his belief that he could complete what he had set out to achieve, despite encountering numerous challenges along the way.
I liked Nicky Brant’s Passepartout. She really made the most of every comedic line of the script while keeping up a very convincing French accent throughout. Princess Aouda, saved from being sacrificed on her husband’s funeral pyre and continuing with Fogg on his travels, was well played by Amy Prosser.
Amanda Green was obviously enjoying playing the rather ridiculous Detective Fix, in pursuit of Fogg who has been mistaken for a bank robber, due to the fact that he is carrying a large amount of money. Dressed in raincoat and trilby and with a gruff London accent, veering somewhere between cockney and south London, she becomes ever more nonsensical whilst trying to maintain the dignity of her status. Very well done.
Sir Francis Cromarty was played by Jem Deans and Lorna Catt, Neil Clarke, Jill Oxborrow, Sue Wetherall and Vanessa Povey must all be congratulated on playing the many supporting roles, as well as being members of the crowd. No mean feat considering the number of costume changes involved as the story moves from one exotic location to another.
A quite amazing and very large elephant puppet took us by surprise as it entered the hall. Made in house and operated by puppeteers Rebecca Jamieson and Vanessa Povey who were joined by a stand-in at this performance, this was indeed something special and I understand the brain child of the Director, having seen the famous War Horse. Congratulations must go to Will and to Olly Brant and Nicky Brant responsible for its construction.
The aforementioned suitcases were imaginatively used and formed numerous functions from train carriages to a prison cell. Costumes were absolutely right and projected scenery and film high up on either side of the hall, together with well chosen pieces of music all added to the enjoyment.
The company packed a lot into a short space of time but the inclusion of an interval allowed us to re-set and prepare for the next stage of this delightful romp around the world.
Thank you Much Hadham Drama Group for a very enjoyable evening and for your hospitality.
Decia Ranger
Regional Representative
NODA East.
AROUND THE WORLD IN EIGHTY DAYS
Jules Verne’s story of Phileas Fogg and his manservant Passepartout is well known and has been told and retold countless times. It offers much scope for drama in the showing and telling of Fogg and his servant’s many adventures as they scramble to travel the world in a mere 80 days.
Much Hadham Drama Group presented their version of the story in Much Hadham Village Hall this week. They were ably directed by Will Jamieson who in collaboration with Duncan Tuck also wrote the script.
The production was presented ‘in the round’, a new innovation for the Drama group. The audience was seated on two sides of the auditorium, facing each other, allowing the other two other sides to be available for exits and entrances and allowing technically projected scenes to be depicted showing Fogg’s progress through the different places. This all provided an ingenious use of the central space. It allowed much scope for movement and positioning which the cast of twelve used with skill and relaxed expertise.
Because ‘the set’ was reduced to half a dozen trunks and packing cases moved strategically from place to place by the actors themselves, little time was lost in scene changing. Will, together with his cast and crew deserve praise for such imaginative use of space and the teamwork involved to make it work perfectly.
The action of the play moved swiftly, and the pace was excellent. But, some of the scenes were so short that an audience hearing and seeing it for the first time, could barely absorb what was happening before the play moved on to a new situation. In addition, as about half the actors were playing at least half a dozen different roles with some females playing both genders, thus confusing the audience even more.
Every actor has a special responsibility to their audience to be heard at all times. Performers of plays directed ‘in the round’ need to be especially aware of this. At times sadly, some of the dialogue was lost because the actors were facing the wrong way. It was especially noticeable in railway sequences.
Much of the forward movement is provided by Passepartout acting as a narrator. This part was admirably and energetically played by Nicky Brant, her movement and gesture were very effective, and she coped well with sustaining her French accent throughout. This guttural language can be tricky, especially when delivered at speed and sadly some of her dialogue was lost which was very unfortunate and didn’t aid continuity.
Mark Edwards played the imposing and genteel Fogg with great elegance and was ably supported by Jem Deans, playing the equally impeccable Sir Cromarty. Amanda Green was an admirable foil to both these characters. She played her part with conviction and energy. Amy Prosser was a feisty princess Aouda. Not an easy part to play, as she doesn’t appear until the action is well underway, and the script did not allow her much opportunity to develop her part. Amy did her best she with what she had.
My praise goes to all the other characters, who played the many supporting roles with aplomb and seemed able to disappear and reappear in another guise with great speed. They were of course ably assisted in their roles by the many, many splendid costumes. Well done, Wardrobe.
Props were well researched on the whole – loved the gramophone/phonograph, but the bags Passepartout carried throughout the performance were much more 1972 style rather than carpet bags of 1872! This was a pity.
It is always good to save the best until last – which in this case is of course the elephant. Congratulations to all who has a hand in making it. What an impression it made on its entrance. He/she was ably brought to life by Rebecca Jamieson, Luna Austin, and Vanessa Povey. The fancy footwork was especially amusing.
Altogether an interesting evening, which was enjoyed by those around us. For me personally it was too short, and the whole production would have benefitted from more depth and breadth in the dialogue.
Maggie Smith 21St May 2023