book-reviews – Review Wizard

I’ll be forgoing my usual puns in this review as The Kite Runner is not so…up-lifting. Ok, allow me that one….

Adapted for the stage by Matthew Spangler, the action takes place in Afghanistan and America, and spans continents, cultures and classes.

This is a tale of betrayal, loss and redemption and follows the story of Amir (Stuart Vincent), as he recounts moments from his childhood. With his friend and servant Hassam (Yazdan Qafouri) the pair are menaced by young thugs, and the action soon takes a darker turn.

Vincent is on stage for almost the entire performance, and plays Amir with both an intensity and sincerity. He seamlessly transitions between young Amir and his adult self, and has some truly poignant moments. A little comic relief here and there is unexpected but welcomed in such a harrowing tale.

Qafouri’s Hassam is convincing as a 12-year-old boy, expertly capturing the childhood innocence and naivety. His unwavering loyalty to Amir comes through in the bravery of his actions, and it’s heart-wrenching to see his story unfold.

Dean Rehman as Baba strikes a balance between authoritarian father figure and doting dad. Torn between the expectations of society and standing by his family, we feel his struggle in a difficult cultural climate. Rehman gives a powerful performance throughout.

Bhavin Bhatt is utterly repellent as the bully of the piece, and represents all that Amir must learn to stand up to. There are audible gasps when he antagonises the two boys, and Bhatt quickly has us loathing the character.

The whole cast work well as an ensemble, with most performers playing multiple roles. Special mention must go to Hanif Khan on the tabla who is also on stage for most of the show and whose music sets the tone from the very start.

Fans of the novel will recognise particular quotes from the text, especially during the more distressing moments. This is effective in demonstrating the violent scenes without resorting to crude effects and shock tactics. Although in a way it is more shocking – and more visceral – to hear the brutally detailed descriptions.

Barney George’s set design is bare-bones, but allows for the cast to make their mark on a relatively blank canvas. That being said, there are some wonderful touches such as giant kite sails that fold in and out. Projection is used well too, but thankfully not over-used or relied upon. The show is often vibrant and colourful, and reflects the Afghan heritage and traditions well.

At two hours and thirty-five minutes with interval, The Kite Runner runs fairly long but the show is so well crafted that it doesn’t often drag. The audience were silent throughout, gripped by the powerful storytelling.

Powerful, evocative and often heart-breaking. Has this review set your hopes for good theatre…soaring? Book your tickets at www.yorktheatreroyal.co.uk/show/the-kite-runner/

Disclaimer: Tickets were kindly provided for this performance, however all opinions are honest and are our own.

Last night we went to see Tess at York Theatre Royal, with the classic novel adapted with circus skills and physical theatre by Ockhams Razor.

A Little Horse-Play

In truth, I didn’t know the story of Tess of the D’urbervilles. Suffice to say, it’s not an uplifting and heart-warming tale. The story follows 16-year-old Tess as she strives to help her impoverished family, and looks at the struggles and harsh life-lessons she encounters along the way, from the men and society who treat her so poorly.

The performers draw out the humanity of the characters through their physical performance. They make every movement seem effortless, displaying immense strength, focus and a real synergy with each other. Actors leap, tumble and twirl with ease – and manipulate planks of all shapes and sizes to create the ever-changing set.

Especially impressive is the structure of a house, slotted together before our eyes then lifted in one gigantic piece – and instantly strong enough for the actors to scale up and down. Set designer Tina Bicat works a special kind of magic.

Milking It

Although the source material is bleak – and the performance doesn’t shy away from this – there are a surprising number of lighter moments throughout the show too. A highlight is a sequence with maids milking cows. Shall I tell you how it’s done? Pull the udder one!

Joshua Frazer’s skills with a golden hoop are truly breath-taking too, skilfully manipulating it to spin inside it or send it whirling around the stage. It’s accompanied by a haunting sound, and the sound design throughout is first rate.

At points the music is subtle and understated, and barely heard over the slight squeaking of shoes and gently-landed thuds. Elsewhere it is brash and dramatic, punctuating the darker moments with severe crashes and gut-wrenching screeches. In an ideal world I would’ve preferred this played on live instruments rather than recorded, but I appreciate this isn’t always feasible.

On the subject of sound, in such a physical piece Hanora Kamen is only amplified by floor mics. This does unfortunately mean that, despite a stellar performance, she can be difficult to hear at points – even from the first few rows of the Dress Circle.

I would normally mention other performers by name, however this is such an ensemble piece that the whole cast almost work as one. All are incredible.

Circus of Horrors

The circus elements never feel twee or shoehorned in, they lift this unhappy tale and add a fresh and modern twist. This style of interpretative movement-based theatre won’t be everyone’s cup of tea but it’s a powerful form of storytelling and has the audience gripped here.

There is some particularly unsettling physicality in parts which made me feel uncomfortable – but that is absolutely the point. The inner turmoil of Tess’ experience shown so starkly through physical movement is inspired, and invites the audience to really immerse themselves in the performance.

Bold, inventive and beautifully realised.

MAGIC RATING