One of the Bard's lesser-known works is vividly brought to life by marionettes
Venus and Adonis
Little Angel Theatre, London N1
Gregory Doran's production of Shakespeare's little-known poem "Venus and Adonis" manages to transform what could have been dismissed as an off-day effort by the Bard into a magical hour of puppetry, music and lyricism. "Venus and Adonis" obviously had to be included in the Royal Shakespeare Company's year-long Complete Works project, which covers Shakespeare's entire canon. But rather than tuck it away quietly, perhaps with a quiet recital somewhere where it couldn't be noticed, Doran and the Little Angel Theatre in London have ramped up the work into an erotically charged hour with a great deal of humour and classy on-stage narration from Harriet Walter (performances from 29 March onward are being narrated by John Hopkins).
The plot, it must be said, is not gripping. Venus, goddess of love, comes to earth in her chariot one day and chances upon the hunky mortal Adonis. Unfortunately, he is immune to her charms. After several dozen verses of attempted seduction by Venus, Adonis evades her and ventures out to pursue his original ambition of hunting wild boar, with tragic consequences. But although not the most sophisticated story, the tale of Venus and Adonis, suffused with the alchemy of the Little Angel puppets, becomes a rather engaging experience.
For a start, these are no ordinary puppets. Indeed, it is almost impossible to believe that Venus, who is manipulated by up to three puppeteers, is made of only stuffed soft leather. She is buxom, curvy and beautifully alive. Whether leaping across the stage with pointed toes, nuzzling in under Adonis's chin, or settling herself sadly down to sleep on the forest floor, she is the incarnation of sex appeal and womanly charm. She's no dolly bird, however, but rather feisty, cuffing Adonis on the back of the head when he won't play ball and, at one point, openly kissing him up and down his wooden, jointed legs with loud smacks of the lips (sound effects courtesy of a puppeteer).
Meanwhile Adonis, who may look like a Greek god, is as stubbornly self-obsessed as any Premier League footballer. He stamps his foot and pushes Venus away, more interested in looking out to the far horizon in search of his lost stallion.
There is a very funny interlude when his charger reappears, only to be charmed away itself by a rather more successful whinnying mare. Both horses, which must weigh three stone apiece, clip-clop on to the stage in the arms of about five people. The narrator proceeds to describe the four-legged lovers, assessing their "broad buttocks" like some sort of Horse of the Year judge, and then they canter off up into the auditorium.
The Little Angel is the perfect co-partner for the RSC, as it is a nationally acclaimed centre for puppetry. The show puts the company through its paces, treating us to shadow puppets, stick puppets, small string marionettes, larger arm-held puppets inspired by Japanese ningyo dolls, and those giant horses, which even have movable ears. At one point, the stage itself becomes a puppet, turning into a huge skeleton over and around which Venus nimbly dances, her steps as carefully positioned throughout as the narrator's nuanced phrasing.
Apparently, "Venus and Adonis" may have influenced a 17th-century masque performed for Charles II, and some elements of the lavish theatricality of this lost art form have resurfaced in miniature here. From a delicately trembling hare, leaping off into the wings, to Venus's chariot, drawn by two doves bearing ribbons, the production piles on the visual treats. But it is also fun, not least due to the tender relish with which we are given the character of a proper, adult woman, filled with desire and desperate to get her arms around her man. When our heroine does get him on the lips, her kisses manage to sweep them both off their feet. Even if she is made of leather and he is made of wood. A sexy delight.
For further info and booking details visit http://www.littleangeltheatre.com
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