Lorna Irvine reviews a Christmas show with an identity crisis.
It is an irony, given that Rapunzel is a coming-of-age story that focuses so sharply on female identity, that this particular production has its own identity crisis.
Annie Siddons' script is all over the place like pubescent hormones: one minute a dark eerie fairytale that owes a lot to the feminist reworkings of Angela Carter, the next a knockabout children's show which, although never quite pantomime, utilises audience participation, all jaunty singalongs and shout-outs.
It looks glorious, thanks to Rachael Canning's ambitious design. Rapunzel's legendary long hair is represented by ropes, and a swing is in place of the tower where she is locked by her possessive herbalist mother when she reaches the age of fourteen. Flowers pop up from the floor, as symbols of burgeoning sexuality, and a lone wilted flower dead centre when she loses her virginity. Canning's puppets raise cheers all around. Exposition is too sophisticated for the children, and the cod-philosophy and scary segments simply wildly inappropriate for little ones.
The cast are faultless—Jessica Hardwick a feisty tomboyish one as Rapunzel (until the second half, where she appears defined by her love affair), Ewan Somers seemingly her equal as suitor Patrizio. Their scenes together are sweet, underpinned by melancholy and longing. Wendy Seager as twisted Mother Gothel proves a malevolent presence.
The addition of Honeyblood's Cat Myers' live drumming and sound effects is an exciting layer, as Michael John McCarthy's score is very appealing; swinging from folk balladry to zippy 50s rockabilly number ‘Ping, Ping!’which induces much seat dancing, from kids and grown-ups alike.
Yet, the effective simplicity is undone by piling on another plotline featuring dodgy salesmen breaking the fourth wall, Freudian parenting and bandits. Motivation for character developments are unclear. Why does the loving mother suddenly turn on Rapunzel? Why does Rapunzel become so love-struck so soon after being taught to mistrust outsiders? Additional extras seem almost like a justification for the long running time, which does rather stretch patience, and the central tale is then lost. The violence with scissors, pointed guns and eye gouging is a bit much, even if kids love gross stuff. And predatory sexuality is more than hinted at, in a slightly awkward way.
But aside from many flaws, it's a watchable enough yarn, with masses of energy. A pity Rapunzel herself is sidelined by over-ambitious production choices and the larks of secondary characters, as she should and could be a fascinating heroine. Take older kids along, but leave more sensitive young ones behind—unless you want to spend a long car trip home answering very difficult questions.
Citizens Theatre until 3rd January, 2016.
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