His Dark Materials, part 2
Tuesday, December 16th, 2003 09:59 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
tamaranthLast night we saw the second part of the National Theatre's production of Philip Pullman's 'His Dark Materials'. I have rather less to say about this than about the first instalment, but will say it anyway ...
It's a while since I read the third novel, The Amber Spyglass, and I remember being dissatisfied with it. It didn't help that I'd interviewed Pullman (bloody Avnet now not working either! aaargh!) just before the novel was published: I found him a wilfully difficult subject who seemed to delight in evading questions, and I suspect that my opinion of the author influenced my reading of the novel. (mea culpa).
So I don't remember as many plot details as I should: yet my feeling is that the dramatisation has both simplified and altered the narrative. There are happier endings for some characters; others simply disappear; yet others have death scenes reminiscent of the final scenes of Greek tragedies. (Enter stage right: say something profound: die violently. Repeat ad nauseum). The upside of this, I have to say, is that I may now actually read The Amber Spyglass again!
More general points ...
... Patricia Hodge is utterly splendid as Mrs Coulter, and much more likeable than in the novels. You get that feeling that if Lord Asriel had included her in his plans, things would have worked out much better for him.
... this is very definitely a production aimed at the stalls. I hope that those seated in the circle won't be able to see into the wings, or see the stage mechanism, when the production is a little more polished; I found it rather distracting.
... second part isn't as potentially disturbing as the first
... the actors carry the production even when effects and plot falter, simply because of the complete conviction with which they play their roles.
Spoilery bits here...
... the arrival of the boatman is an excellent piece of staging
... the actor who (black-clad and 'invisible') manipulates Lyra's daemon unmasks to become her Death: a truly powerful and effective moment.
... the first appearance of the doll-sized Gallivespians had the audience laughing: yet they applauded at the end of the scene, too.
end of spoilery bits
Overall, I'm not sure how effective it all is. It feels uneven, and I wonder if Pullman has taken the opportunity to do some post-publication revision of the trilogy. But the production looks marvellous and the acting is excellent. Worth seeing, though I'm glad we didn't pick the same-day double bill!
It's a while since I read the third novel, The Amber Spyglass, and I remember being dissatisfied with it. It didn't help that I'd interviewed Pullman (bloody Avnet now not working either! aaargh!) just before the novel was published: I found him a wilfully difficult subject who seemed to delight in evading questions, and I suspect that my opinion of the author influenced my reading of the novel. (mea culpa).
So I don't remember as many plot details as I should: yet my feeling is that the dramatisation has both simplified and altered the narrative. There are happier endings for some characters; others simply disappear; yet others have death scenes reminiscent of the final scenes of Greek tragedies. (Enter stage right: say something profound: die violently. Repeat ad nauseum). The upside of this, I have to say, is that I may now actually read The Amber Spyglass again!
More general points ...
... Patricia Hodge is utterly splendid as Mrs Coulter, and much more likeable than in the novels. You get that feeling that if Lord Asriel had included her in his plans, things would have worked out much better for him.
... this is very definitely a production aimed at the stalls. I hope that those seated in the circle won't be able to see into the wings, or see the stage mechanism, when the production is a little more polished; I found it rather distracting.
... second part isn't as potentially disturbing as the first
... the actors carry the production even when effects and plot falter, simply because of the complete conviction with which they play their roles.
Spoilery bits here...
... the arrival of the boatman is an excellent piece of staging
... the actor who (black-clad and 'invisible') manipulates Lyra's daemon unmasks to become her Death: a truly powerful and effective moment.
... the first appearance of the doll-sized Gallivespians had the audience laughing: yet they applauded at the end of the scene, too.
end of spoilery bits
Overall, I'm not sure how effective it all is. It feels uneven, and I wonder if Pullman has taken the opportunity to do some post-publication revision of the trilogy. But the production looks marvellous and the acting is excellent. Worth seeing, though I'm glad we didn't pick the same-day double bill!
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Date: Tuesday, December 16th, 2003 02:49 am (UTC)As for disturbing bits, I still think that when Lyra leaves Pan is one of the most harrowing parts of the whole work. I had tears welling up in my eyes (as when I read it). Both the actress who played Lyra and her daemon handler (names unrecallable at present) were horribly convincing.
And yes, having the daemon handler (wrangler? puppeteer?) play Lyra's death was a stroke of genius.
Thanks for giving me the opportunity to see the thing.