Don Quixote
By Sam Fowles
Monday 28th September 2009
Possibly the most high profile of the St Andrews shows at the Edinburgh Fringe, Don Quixote garnered considerable attention due to director Charlie Ward’s choice to experiment with the concept of theatre of the blind. The audience were to be blindfolded, and the entire experience would rely on stimulating the other senses. Whilst the attention was thoroughly deserved, the concept was not the most impressive aspect of this production. The performances of Sunny Moody and Lorenzo di Boni as Don Quixote and Sancho respectively were the real centre-piece of the show. It was impressive therefore, to discover once the performance was over, that the roles had physicality demanding for the actors, as they would have for a sighted audience. Both Moody and di Boni managed to convey a huge range of emotions, not to mention create excellent dramatic tension, without the audience seeing any of the action. Moreover, they achieved the exceedingly difficult feat, of making us sympathise and identify with a madman and his sycophantic best friend.
This is by no means to say that the concept itself was lacking in any way. Theatre of the blind, an idea that could so easily become a gimmick, in Ward’s hands, and in conjunction with his excellent adaptation, genuinely conveyed the message of the play. Inevitably the sense most relied on was hearing but there was also a concerted effort to stimulate the audience with smells and touch. Feeling “sheep” brush past my knees added an extra element of realism, and there were some suprisingly humourous smells! Ward avoided the obvious option of using music to set the mood until the very end of the play and, for this, it became a far more powerful effect.
The performances of Moody and di Boni were very ably supplemented by an excellent supporting cast. Emily MacDonald and Maria Mackenzie made invaluable contributions to what was, despite a slight reliance on the central characters, an extremely successful ensemble effort.
Don Quixote deserves praise for its professionalism, bravery and sheer understanding of what makes good theatre.
Monday 28th September 2009
Possibly the most high profile of the St Andrews shows at the Edinburgh Fringe, Don Quixote garnered considerable attention due to director Charlie Ward’s choice to experiment with the concept of theatre of the blind. The audience were to be blindfolded, and the entire experience would rely on stimulating the other senses. Whilst the attention was thoroughly deserved, the concept was not the most impressive aspect of this production. The performances of Sunny Moody and Lorenzo di Boni as Don Quixote and Sancho respectively were the real centre-piece of the show. It was impressive therefore, to discover once the performance was over, that the roles had physicality demanding for the actors, as they would have for a sighted audience. Both Moody and di Boni managed to convey a huge range of emotions, not to mention create excellent dramatic tension, without the audience seeing any of the action. Moreover, they achieved the exceedingly difficult feat, of making us sympathise and identify with a madman and his sycophantic best friend.
This is by no means to say that the concept itself was lacking in any way. Theatre of the blind, an idea that could so easily become a gimmick, in Ward’s hands, and in conjunction with his excellent adaptation, genuinely conveyed the message of the play. Inevitably the sense most relied on was hearing but there was also a concerted effort to stimulate the audience with smells and touch. Feeling “sheep” brush past my knees added an extra element of realism, and there were some suprisingly humourous smells! Ward avoided the obvious option of using music to set the mood until the very end of the play and, for this, it became a far more powerful effect.
The performances of Moody and di Boni were very ably supplemented by an excellent supporting cast. Emily MacDonald and Maria Mackenzie made invaluable contributions to what was, despite a slight reliance on the central characters, an extremely successful ensemble effort.
Don Quixote deserves praise for its professionalism, bravery and sheer understanding of what makes good theatre.