Missy Lorelei thinks the latest from Oran Mor is inconsistent.
Stuart Hepburn's portrait of the tragic Italian cyclist who died aged thirty four after being found guilty of using performance enhancing drugs should be an exhilarating experience, and often is. From humble beginnings, Catholic guilt and bullying on account of his large ears, to success as champion in the Tour de France in the early 90s, this is a frenetic production which suffers through its conventional linear structure, feeling more truncated biopic than fully-realised play.
Oran Mor favourite Blythe Duff is fine as Pantani's troubled mother Tonina but is given little to do except fret and wring her hands a lot. Jordan Young in the titular role is very good, handling well the teenage angst and subsequent trauma of corrupting influences in adulthood. Only James Smillie in dual roles as Pantani's grandfather Sotero and the Machiavellian doctor drags things down—he is too blustery, almost cartoonish, in his Italian ‘machismo’. If he had a Dick Dastardly moustache, you suspect he would twirl it.
However, the staging is interesting with director David Overend deserving full credit. Tonina narrates most of the story as though living vicariously her son's triumphs and tribulations. The link is made between her self-harming episodes and his ultimately destructive drive as 'metal on flesh'. The best scenes are almost choreographed, like the witty Milan race, transformation from cocky young boy to 'The Pirate' in skull and crossbones bandana, and bicycle spokes turning in hypnotic rhythm as Pantani's passion for racing is inflamed.
A shame it is so inconsistent.
RSS