Photo. Trick of the Light Co. NZ.

“A great pleasure.”

Editorial Rating: 5 Stars

We all know that Middle-earth is in New Zealand but does the Shire have a bookbinder? I hope so, for it seems a time-honored craft worthy of any self-respecting hobbit. Anyhow, this treat of a show comes from Trick of the Light company of Wellington, NZ.

From now on you can forget Tolkien, in fact the old Bookbinder would have you forget the writer and just have you concentrate on getting together the right pages  in the right order. If, perish the thought, you start reading them, then you’re in trouble and might get seriously lost in story world; which, of course, is exactly what happens to our young apprentice, who falls down on the job, skimps the last few pages, sticks (‘tips’) them in, and trusts to Fate. She, however, does not give him an easy ride.

Ralph McCubbin Howell is the bearded Bookbinder and tells us the story. There’s just the old man’s voice at work, informed by the occasional kiwi aside, and the solemn turning of the pages of an impressive pop-up book, which the mystery author of the Edinburgh Book Sculptures would love. For me though it is the central conceit, that the world is a book whose fabric needs looking after, that is especially satisfying. Bind the book well, my child, and all will be well!

There’s an anglepoise lamp on the worktable, ink in the water, and an eagle’s nest on a lampshade; all manipulated to ingenious effect. Trick(s) of the light they may be but you – and your children – will find great pleasure in this illuminating tale.

Reviewer: Alan Brown  (Seen 8 August)

Go to the  ‘Trick of the Light’ company.

Visit the Assembly Roxy archive.

Photos. The Curbside Company.

“Sure-footed and affectionate “

Editorial Rating: 3 Stars:  Nae Bad

‘The Unauthorised Story of The Little Prince’ says the flyer, which might – to a grown-up – suggest something naughty and sneaky under the radar. Fortunately, not. Relocated but not crudely transplanted this is still St Exupéry’s wonderful story where, in case you’ve forgotten, ‘All grown-ups were once children … but only few of them remember it.’ Flight hopes to take you to where the children are – wide-eyed and looking to learn.

Much of The Little Prince was actually written on Long Island, NY, and Flight has come in from Long Beach, California; so feel the sand between your toes and see wide horizons in the little space that is Roxy Downstairs ( … 2 seats in rows to the left of the aisle, 6 to the right). The vision thing is big in southern California but it’s for real on stage, down to earth: nothing adult, shiny and corporate. Flight would have us forget BMWs, lattes, suits and golf carts, and see instead singing birds rise against the coastal dunes and have the splash of the Pacific against your face. That’s the alternative point, Exupéry’s core text: ‘It is only with the heart that one can see rightly; what is essential is invisible to the eye’. It all happens along the coastline of Baja California in Mexico so magic stingray, wise turtle and badger – surprisingly! – are at home, joined by exotic zebra and wicked bottle (baobab) trees.

So what would, what can Flight ‘s writer Ezra LeBank show and tell? Well, as a master teacher of movement, there is a lot of accomplished physical theatre. Three expert performers: LeBank himself as Pilot and earnest Narrator; Cynthia Price as the brave Little Prince(cess); and Taylor Casas as the most supple of cacti – effortlessly fold and lift and turn through a busy story. The only props that I can remember are the blinking LED torches of the plane’s navigation lights. What I have no trouble recalling is the Little Prince rising and falling in the air bubble of a blue whale and the constant slightly puzzling play upon cactus rose and thorn.

Imagine, the Little Princess in her element .

What I missed was colour, even costume, which is probably my senior hangover from Exupéry’s own illustrations that are so integral to his famous book. A black backcloth with a slash of white could have been relieved occasionally. LeBank’s voice has the whole story to tell and although he manages this with marked clarity it does not, in Scottish terms, set the heather on fire. No doubt the company decided that once you provide one visual your audience starts looking for the screen rather than realising what matters. Desensitised schmuck that I am, I began to want to interrogate a seven year old, nurtured by character animation, to ask what he thought.

Portable, of necessity, rather than deep-rooted, ‘Flight’ is still a sure-footed and affectionate reshaping of an important and civilising story.

Reviewer: Alan Brown  (Seen 8 August)

Go to Flight and Curbside.

Visit the Assembly Roxy archive.