The choreography by Sue and Erin Bradbury throughout was engaging. There were sections for the adult, senior, Intermediate and junior dancers as well as the full ensemble. The fight scene in the UV section between Rumpelstiltskin and the dragon, supplied by the No Eyed Theatre Company, was well staged. The monster, operated by people in blacks, was quite terrifying as it rose, fell, twisted, turned, and came forward during the fight. A particular highlight, for me, was the almost balletic build of the spinning wheel at the conclusion of Act One. Rumpelstiltskin takes parts of the broken spinning wheel and places them together to form the gold spinning machine, during which the dancers deliver gold bars to stage. The effect was quite hypnotic. The lighting design by the author and operated by James Bradbury heightened the effect. Stage Manager, El Pomfret aided by all the backstage crew, kept the pace as the scene changes – of which there were a lot, 11 in Act One, were quite slick. The author and director had given thought to this as many were covered by The Six telling a story, a chase through the auditorium or the silent, tea drinking Margaret Jones shuffling across the front to give the crew time but still give the audience something to look at. It was interesting to read about the symbolism of the set design, that it was based on cogs working together to get a job done which reflects the hard work put in by everyone from stage crew, chaperones, makeup, wardrobe through to front of house and those working the bar. This was a well thought out script and production of a story not often told. The audience appreciated the engagement and energy.
RkJQdWJsaXNoZXIy ODU3MzQ=