'Three Musketeers’

Press, 5 December 1988, Page 9

'Three Musketeers’

“The Three Musketeers” by Alexandre Dumas, adapted for stage by Simon Phillips at the Court Theatre. Music by John Densem. Directed by Elric Hooper. December 3 to February 4. Running time: 8 p.m.-10.35 p.m. Reviewed by Elody Rathgen. The Court Theatre’s traditional Christ-mas-Summer season spectacle opened with a flourish on Saturday evening. The often played, well known historical drama, “The Three Musketeers,” is bound to draw a crowded house. This version is adapted for stage by Simon Phillips, a former New Zealand resident, with music by John Densem and directed by Elric Hooper. The set is splendid. It is elaborately decorated and full of surprises. Tony Geddes has been inspired and humorous in his design. The revolve works effectively, and the miles of walking, riding and sailing are traversed with ease. The horses are hilarious — a highlight of the show. Pamela Maling has complemented the set with her costumes. Their splashes of colour lift the eye. They also help the audience establish allegiances of the many groups of characters. “The Three Musketeers” is exactly the kind of production in which Elric Hooper excels. He has been inventive and he has injected the cast with incredible energy. There are many set pieces of comedy which have Mr Hooper’s hallmark all over them, and they are executed with tight discipline. It is all part of the tradition Christchurch audiences have come to expect. From the large cast, all of whom contributed with fervour and at break-

neck pace, a few stand out. Mark Hadlow, combining the roles of Panchet and Louis XIII, won the audience over. With comic flair reminiscent of his Wishy Washy in “Aladdin,” he came close to stealing the show. Kevin Smith, as D’Artagnan, was almost as winning as Errol Flynn. He seemed to enjoy his acrobatic feats as much as the audience did. Although slightly confused about his accent, he braved and charmed his way through his many adventures.

In full support were the other “three” — Aramis (K. C. Kelly), Porthos (Geoffrey Dolan), and Athos played by Paul Barrett who doubled with customary flair as the Duke of Buckingham.

Lynda Milligan and Bill le Marquand gave polished performances, making the most of any comic opportunity. Aimee Belton and Bryan Aitken did all that was expected of them, and two newcomers, Michael Thompson and Erolia Ifopo, were notable in their chorus roles. Geraldine Brophy as Milady generated the right amount of sinister sex appeal for her curious and unpleasant role. Amidst the adventurous spirit of the story, the many ingeniously managed sword fights and the general visual spectacle there can be few complaints about this production. It is a shade too long, and the plot is complicated to follow. It may be as well, especially for young audience members, to be familiar with the political intrigues of the story. There are some viewing problems, especially for the audience at the back of the theatre, when action is played on the upper rostra.