by Bryony Lavery based on Philip Pullman's novel
seen at the Bridge Theatre on 29 December 2021
Nicholas Hynter directs this adaptation of the first volume of Philip Pullman's new Book of Dust trilogy set a dozen or so years earlier than the events in His Dark Materials. That first trilogy was adapted into two plays for the National Theatre in 2004, Nicholas Hytner also directing, and here his frequent collaborator, the set designer Bob Crowley, once again creates a compelling vision as the backdrop to an exciting story.
Two major characters from His Dark Materials, Lord Asriel (John Light) and Marisa Coulter (Ayesha Dharker) are prominent in this story too, and two minor characters in the Oxford of Lyra's world are more important in this story: Alice Parslow (Ella Dacres) and Dr Hannah Relf (Naomi Frederick). The most important new character in this play is twelve year old Malcolm Polstead (Samuel Creasey), son of the innkeper of the Trout at Godstow. He and Alice find themselves protecting the baby Lyra not only from the sinister forces of the Magisterium and the machinations of her mother Mrs Coulter, but also from a deeply unpleasant disgraced research fellow Gerard Bonneville (Nicholas James-Neal in the performance I attended) and a catastrophic flood, until the baby is safely delivered to the scholarly sanctuary of Jordan College, where she is safe for the next twelve years.
The book is dense with action and intrigue, and Pullman as usual confronts the evils associated with established and complacent religious organisations with often gut-wrenching candour - there is an especially creepy brotherhood created by Mrs Coulter among schoolboys which essentially recruits them as spies on their friends and parents, all too reminiscent of the horrors of the Cultural Revolution of Mao's China or the fanatic youth groups in Nineteen Eighty-Four. Malcolm's sturdy common sense and innate kindness cause him to recoil from what he sees as sneaking, but barely protects him from the bullying it encourages.
The adaptation inevitably streamlines the story but cleverly keeps in balance the twin themes of growing into the adult world with its confusions and perils, and the sheer resilience needed to carry out a mission central to any successful quest narrative. Adults are just guests in Malcolm's mother's pub as far as young Malcolm is concerned until he is swept into their often mysterious concerns. Alice is just the annoying teenage girl who works for his mother and teases him relentlessly until they each begin to appreciate the other during their adventure. Samuel Creasey and Ella Dacres, both young adults, convincingly portray much younger characters, and are ably supported by the other cast members.
Visually the production is astonishing, the use of video projections on a deep stage with moveable black flats allowing for immediate scene changes and an enveloping and convincing flood. Considering that almost the entire second act centres around the headlong journey of a small canoe (La Belle Sauvage) down the River Thames from Oxford to Greenwich, it is remarkable that anyone should have considered trying to make a stage play at all, but the result is a triumphant success from a technical point of view. Of course, there is also the matter of the daemons, the external manifestation of person's inner self, envisaged once again by an inspired use of puppetry, and providing an excellent means to voice the inner conflicts of the two youngsters.
Though the pace may have been a bit rushed at times, and the forward-looking hints at Lyra's future importance a bit too knowing, overall this was a good adaptation and a marvellous piece of theatre, welcomed by an enthusiastic audience of all ages. It was particularly gratifying to see children in the audience captivated by the spectacle and the story. It has been a long wait, since my ticket (and indeed the whole produciton) was deferred from December 2020 on account of the pandemic, the last and longest delay to a cultural event in my calendar.
