After viewing a production of Matthew Bourne’s emotionally gripping adaptation of Swan Lake this past fall during its NYC season, I knew a transatlantic journey was a definite must. And so on the announcement of his newest work, an adaptation of William Golding’s Lord of the Flies (with an extremely limited run of about 5 days); I was drawn to Glasgow’s Theatre Royal through a sort of siren song and the promise of good theater.
British director/choreographer Matthew Bourne has brilliantly reimagined many a work, from Bizet’s Carmen to Prokofiev’s Cinderella and most famously Tchaikovsky’s Swan Lake. His latest creation, Lord of the Flies certainly doesn’t disappoint. The production marks the first work since the start of his company, New Adventures, that wasn’t choreographed by Bourne, instead entrusting veteran company dancer and associate director Scott Ambler to bring his latest vision to life.
With Golding’s Lord of the Flies as the subject matter, there are certainly pitfalls and expectations as to what it would be like which Ambler and Bourne shatter effortlessly. Rather than set the action inside a jungle, they resorted to creative use of the space and an industrial inspired set although several elements of story’s fearsome jungle remain. Ambler, through his use of flowing lines followed by unpredictable hard-hitting choreography, did an incredible job of capturing the primal influence of the jungle- aided most definitely by frequent New Adventures collaborator Terry Davies’ score.
Dominic North’s portrayal as responsible peace-keeper leader Ralph was earnest, sincere, and heartbreaking: most notably in a lovely trio with Tim Bartlett (Simon) and Sam Plant (Piggy) as he questions his continued leadership and at the plays end where he sits dejected, tears streaming after the boys are rescued and the disaster averted. Adam Galbraith, Danny Reubens, and Jack Jones proved to be startlingly convincing as the terrifying violent trio of Jack, Roger, and Maurice while Luke Murphy and Phil Gardner as twins Sam and Eric with their picture perfect symmetry and radiant, bewilderingly charm was a definite highlight of the production and offered much needed comic relief.
Perhaps the ballet’s greatest achievement was in its inclusion of local children (many of whom had never danced before) giving them vigorous and challenging choreography to learn which they performed ably, like born professionals. Ambler’s choreography relying on a lot of repetition and synchronicity, the boys really stepped up to the challenge and tackled the difficult steps to fantastic effect.
Bourne’s Lord of the Flies is a true testament to the trust he has in the company members to bring his vision to life, the high level of talent contained within his company, as well as the effectiveness of his company’s educational branch Re:bourne. Here’s hoping there are plenty more innovative and imaginative collaborations from Bourne and his company. I know as long as there are, I’ll be willing to endure more transatlantic voyages to see them because quite frankly, they’re worth it.
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