Review Roundup: Menier's THE INVISIBLE MAN

The Invisible Man opened on 24 November and is booking until 13 February 2011. Illusions are by Paul Kieve, with set designs by Paul Farnsworth, costume designs by Matthew Wright, lighting by Jason Taylor, music by Steve Edis, sound by Gareth Owen and choreography by Sam Spencer-Lane.

H.G. Wells's classic tale is retold in a joyous, comedy music hall spectacular, packed with magical entertainment. Set in the rustic village of Iping, the local inhabitants recount the mysterious happenings of the week that the sinister Griffin arrived wrapped in bandages and with a distinctly unsociable manner.

Michael Coveney, Whatsonstage.com: More good clean fun than you'd hoped, and less than you'd like, Ian Talbot's perfectly enjoyable revival of the late Ken Hill's 1991 HG Wells adaptation is a brave attempt by the Menier to re-kindle the old Joan Littlewood spirit of Stratford East and stir music hall memories of cheap gags, pierrot shows and magic tricks.

Fiona Mountford, Evening Standard: The titular bloke is rogue scientist Griffin (John Gordon Sinclair), but we learn little about him as a stock company of merry villagers gazes in wonder as objects start flying through the air and bikes cycle of their own accord (nifty work from illusionist Paul Kieve). Director Ian Talbot struggles to differentiate between numerous nigh-on identical scenes and the tone becomes ever more uncertain. An underwhelming experience.

Michael Billington, Guardian: This production may not be subtle, and you don't come out ruminating on Wells's vision of social collapse and unchecked scientific experiment. But, as directed by Ian Talbot, it is all preposterous fun and John Gordon Sinclair, despite his lack of visibility, excellently suggests the tormented demonism of the hero. The evening really belongs, however, to the unseen Kieve who can make inanimate objects skim through the air, and who finally has Gary Wilmot as a choric tramp locked in a trunk only to reappear seconds later at the back of the stalls. It may be an old trick but, like much else in the evening, it leaves you in a state of baffled pleasure.

Sarah Hemming, Finacial Times: There are only so many brawls with an invisible opponent you can
enjoy, and the daft antics and chirpy tone begin to wear thin. You feel, too, that you are missing the darker elements of the story. Plenty of spills, then, but a little too light on the chills and thrills.

Charles Spencer, Telegraph: As an alternative to Christmas panto, however, it strikes me as good value, combining laughter with a few genuine thrills and chills, and blessed with a company that is clearly having a ball.

Quentin Letts, Daily Mail: Two points of interest. First, there is an accomplished cast, names such as Maria Friedman, Natalie Casey, Jo Stone-Fewings, Gary Wilmot, Christopher Godwin and ­Geraldine Fitzgerald being happy to throw themselves into a jolly ensemble. That is testament to the Menier's record. Or maybe work is just desperately scarce.

Julie Carpenter, Express: It's all intentionally hammy. As soon as the mysterious stranger (you know who) arrives in a heavy overcoat and with his head swathed in bandages, we're given eerie music and sinister lighting.

Sam Marlowe: The Arts Desk: But a show this determinedly light surely shouldn't feel so effortful. There is some wit and ingenuity on display here; but as the evening wears on, you feel you have to look harder and harder to find it.

Paul Vale, The Stage: The Invisible Man might not be what London was expecting from the Menier this year, but in terms of stagecraft and entertainment the artistic team should be proud.
 

 

 

To post a comment, you must register and login.