Skip to main content

The Jungle Book

Citizens Theatre, Glasgow
Five stars
A dread-locked and camouflage-trousered boy wanders through the 
auditorium and onto the stage at the opening of Nikolai Foster's epic 
take on Stuart Paterson's dramatisation of Rudyard Kipling's novel. 
When the boy takes off his headphones, stops checking his smart-phone, 
sniffs the air and howls to the heavens, it sets the tone for a hip and 
street-wise spectacle that's as far away from the Disneyfication of 
Kipling's story as you can get.

The dread-locked boy is Mowgli, the original feral kid, who, stolen by 
ruthless tiger Shere Khan, is rescued by wolves and shown the ways of 
his new world by bear Baloo and panther Bagheera. Except here, Jack 
Lord's ageing pack leader Akela wields an electric guitar, Lanre 
Malaolu's Shere Khan is a blinged-up, fur-coated gangsta and Jorrell 
Coiffic-Kamall's Bagheera a be-shaded body-popping rapper. Elexi 
Walker's slinky Kaa the snake, meanwhile, brings to mind Bat-villainess 
Poison Ivy with the gymnastic flair of a WWE Diva, especially when she 
climbs amongst the audience in search of prey.

Played out on designer Takis' huge wooden-platformed set draped in 
day-glo strips, and with tribal-sounding songs by BB Cooper and Barb 
Jungr sung and played by a nine-strong cast led by Jake Davies as 
Mowgli, this is a high-flying, metal-bashing and stylistically sexy 
rites of passage. In its highly physicalised and utterly serious 
delivery it more resembles a radical punk rock take on Shakespeare than 
a regular Christmas show, and is all the more captivating for it. With 
Justin Wilson's junk-yard puppets including a full-size mechanical 
bull, this is a dazzling experience that borders on world class. Get 
those jungle drums beating now.

The Herald, December 9th 2013

ends

Comments

Popular posts from this blog

Myra Mcfadyen - An Obituary

Myra McFadyen – Actress   Born January 12th 1956; died October 18th 2024   Myra McFadyen, who has died aged 68, was an actress who brought a mercurial mix of lightness and depth to her work on stage and screen. Playwright and artistic director of the Royal Lyceum Theatre, Edinburgh, David Greig, called McFadyen “an utterly transformative, shamanic actor who could change a room and command an audience with a blink”. Citizens’ Theatre artistic director Dominic Hill described McFadyen’s portrayal of Puck in his 2019 production of A Midsummer Night’s Dream at the Regent’s Park Open Air Theatre in London as “funny, mischievous and ultimately heartbreaking.”   For many, McFadyen will be most recognisable from Mamma Mia!, the smash hit musical based around ABBA songs. McFadyen spent two years on the West End in Phyllida Lloyd’s original 1999 stage production, and was in both film offshoots. Other big screen turns included Rob Roy (1995) and Our Ladies (2019), both directed by Mi...

Losing Touch With My Mind - Psychedelia in Britain 1986-1990

DISC 1 1. THE STONE ROSES   -  Don’t Stop 2. SPACEMEN 3   -  Losing Touch With My Mind (Demo) 3. THE MODERN ART   -  Mind Train 4. 14 ICED BEARS   -  Mother Sleep 5. RED CHAIR FADEAWAY  -  Myra 6. BIFF BANG POW!   -  Five Minutes In The Life Of Greenwood Goulding 7. THE STAIRS  -  I Remember A Day 8. THE PRISONERS  -  In From The Cold 9. THE TELESCOPES   -  Everso 10. THE SEERS   -  Psych Out 11. MAGIC MUSHROOM BAND  -  You Can Be My L-S-D 12. THE HONEY SMUGGLERS  - Smokey Ice-Cream 13. THE MOONFLOWERS  -  We Dig Your Earth 14. THE SUGAR BATTLE   -  Colliding Minds 15. GOL GAPPAS   -  Albert Parker 16. PAUL ROLAND  -  In The Opium Den 17. THE THANES  -  Days Go Slowly By 18. THEE HYPNOTICS   -  Justice In Freedom (12" Version) ...

Billy Elliot The Musical

Edinburgh Playhouse Five stars A big National Coal Board sign looms large at the opening of Lee Hall and Elton John's decade-old musical stage version of Hall and director Stephen Daldry's hit turn of the century film. In a tale of one little boy's liberation as a dancer against the backdrop of the 1980s miners strike, however, the Durham Miners banner and the 'Save Our Community' sash held aloft matter more. It is this call to arms that forms the heart of Daldry's production, as Billy becomes a potty-mouthed beacon of hope in a situation where picket line, thin blue line and chorus line rub uneasily up against each other. Given such a context, there is bound to be some pretty grown-up stuff going on here, be it the institutionalised homophobia in Billy's village, the class war going on within it, or Billy's grieving for his dead mother that drives his every move. And, as so magnificently choreographed by Peter Darling, what moves they are. Watch...