Reviewed by Christine Pyman, Thursday 31st October 2024.
In Maskerade, the late Sir Terry Pratchett takes us behind the scenes of a theatre, and behind the scenes of the masks we don to present ourselves to the world. This adaptation, by Stephen Briggs, presented by Sporadic Productions, more than ably directed by Danny Sag, is a treat for all, with the tricks of stage production laid bare for our delight.
The story, as in all Pratchett writings, is multilayered with meanings and references, and opens on stage, literally. This set, designed by Alexandra Roberts, is the stage of a stage for the entire production, relying on lighting and the acting abilities of the cast to take the audience to other places within the narrative.
The opening scene introduces us to Agnes 'Perdita X' Nitt, a young witch from Lancre who has decided to make her dream of being on stage in the big city a reality. Agnes/Perdita is played by Natalie Haigh, exhibiting such star presence and quality that she must’ve struggled not to steal every scene that she was onstage for. After the quick introductory scene, we have echoes of 'The Scottish Play', with the witches around their cauldron declaiming the famous question of meeting times. The witches, Kahlia Tutty as Granny Esme Weatherwax and Aimee Ford as Nanny Gytha Ogg, are standout performers who control this story of illusion.
Further treats in store include the operatic ghost, bumbling thieves, multiple murders, sword fights, a conniving publisher, an opera singer whose stage name gets the better of him, and the entire theatre cast, not forgetting the new purchaser of the theatre, Seldom Bucket (Chris Coulter) and Mike Shaw’s Salzella, the jaded and controlling stage manager. Hugh O’Connor has a particularly special role as Greebo, a tomcat in human form, with a wonderful swagger and growwwwl. These characters take the audience through the classic phantom story with a mystery whodunit, all the while poking fun at the inner workings of theatre and the artists. There are so many masks and layers shown here, it’s a repetition of mirrors. One of the popular culture references of a stagehand, Shaun Helbigs Walter Plinge, parodying a simple-minded Frank Spencer, of Some Mother’s do ‘ave ‘em fame, fell flat a little with some of this audience, but is an example of a real-world mask, in which the original actor, Micheal Crawford, is, of course, a renowned singer.
Another standout mention must go to Bel Spangenberg, who brought a touch of real life to the illusions of stage, reflecting a key issue of the story. The witches are outraged by Agnes/Perdita having her voice stolen, as they see it, by providing the lovely sound for Christine (Alycia Rabig) who has the looks and personality of a leading lady but, unfortunately, not the talent. In this production of Maskerade, Spangenberg provides the singing voice for Agnes/Perdita.
With a small stage, probably a smaller budget, lots of passion, talent, and friends in the theatrical world, Sporadic Productions succeeds admirably in presenting an extremely complex story for the audience's delight.
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