‘Pinocchio’ still magic

Press, 13 October 1983, Page 8

‘Pinocchio’ still magic

“Pinocchio,” by the Christchurch Theatre Workshop, at the Repertory Theatre, from October 8 to 15. Running time: 7.30 p.m. to 10.15 p.m. Reviewed by Claire Marsh. Take a principal boy — played by a girl flaunting sexy legs. Add a large Dame, played by a man with a loud voice. Add a chorus of size and splendid costumes, three energetic cheerleaders to positively bully the audience into a sing-along, joining arms no less, add some beautiful choreography and dancing, plus just a touch of magic, and you have a guaranteed formula for packed houses. Peter Roberts has both directed and written this year’s production of “Pinocchio,” based on the story of Pinocchio created by Collodi in the nineteenth century. The plot is rather thin, touching only salient points of the original, but satisfyingly, Pinocchio’s nose does indeed grow long when he telli lies; a warning to all. boy, so inclined, and run-| ■iag away from school'

results in the boy’s growing donkey’s ears. A great deal of the credit for the success of the show lies with the orchestra, whose toe-tapping rhythms of old favourites and evocative sound effects lent atmosphere and charm to the show. The cast was a large one, including a chorus of 18 children. Special plaudits go to Ron Bell for an energetic, indeed at times frenetic, performance of the Dame, Donna Rees for a most convincing portrayal of Dino the wayward boy, Janet Scott for her fine singing and control as the daughter, Madalena, and Carol Carr for a lusty performance of Jimminy Cricket Alan McConnell brought to the role of Geppetto a fine sensitivity, and Gina Bareli created balance and contrast with her understated portrayal of Pinocchio. Her costume and makeup lent authenticity to the illusion that she was a puppet However, a great deal s more imagination needed to be executed in the orches-

tration of movement; each actor entered, and as if possessed of the strings the puppet had managed to discard. proceeded to pace the identical pattern of the one before. The fore stage was used almost as the sole acting area, and no actor seemed able to speak without this curious pattern of movement. Apart from the opening chorus, the actors throughout were pleasingly audible, but there was a lack of light and shade, and no attempt at modulation. The production would have benefited from some judicious cutting, because the show was too long for some of its youthful audience, and indeed there were times when the pace slackened considerably. The Christchurch Theatre Workshop must be congratulated on providing an opportunity for young actors to blend their talents with more experienced actors, and for their following of enthusiastic and appreciative patrons. With just a? little more courage and attention ito techniques they have a Efeat deal of potential.