Written and directed by the irrepressible Emma Rice, BLUE BEARD mashes gig musical and primal theatrical scream. A reimagined version of the old French folktale told to a bedraggled visitor (Adam Mirsky) by Mother Superior (Katy Owen) amidst the surreal cloisters of the ‘Convent of the three F’s’, this is sophisticated and sharply produced theatre.
A multi-talented cast, backed by composer Stu Barker makes BLUE BEARD a tuneful adventure, complete with strings, piano, guitar, harp, and percussion. Said adventure mostly revolves around Tristan Sturrock’s statuesque villain Blue Beard who selects ‘lucky’ Robyn Sinclair for his next wife, much to her, her mother’s (Patrycja Kujawska), and sister’s (Stephanie Hockley) misfortune. The perilous writing is on the wall, the hirsute circus magician having murdered his assistant on stage as a prelude to his proposal.
Not the healthiest of marriages at the best of times, matters take a turn for the worse when Blue Beard leaves his new bride home alone with promises to stay out of one specific room in the mansion.
“… this is sophisticated and sharply produced theatre.”
Whilst this rather Grand Guignol fairytale plays out, Mirsky’s character tells a second story of his beloved Big Sister (Mirabelle Gremaud), would-be musician, and loner. Why this tale has brought him to the doors of the convent is left to the play’s final, shocking conclusion.
Dark, furious, and quirky, BLUE BEARD enfolds the audience in its outre world effortlessly, Rice and Movement Director & Choreographer, Etta Murfitt conceiving marvellous vignettes, and wonderfully slick transitions. Owen’s Mother Superior presides over all, funny, emphatic, and touched with Peter Sellers’ worthy excess. Her parish announcements to kick off the first and second acts have the makings of a fine stand-alone comedy.
BLUE BEARD in action – © Steve Tanner
More generally the cast is excellent, Sturrock making a resplendent misogynist serial killer, whilst Kujawska, Sinclair, and Hockley alternate between a tight jazz-bar trio, and a flawed, but heroic family group. Elsewhere, a tremendously assured Gremaud and a nicely understated Mirksy create a warm, believable brother-sister dynamic.
However, BLUE BEARD is more than the sum of its parts, achieving a flowing majesty speaking of a cast and crew in complete, alchemical sympathy. The music team of Barker, Ian Ross and Hockley, deserve particular kudos for their indie-jazz-lounge-bar score, and an undeniable earworm in ‘Three Little Rings’. I didn’t know that the ‘phone to say you’re safe’ codes many of us grew up with deserved an anthem till I heard it.
“…BLUE BEARD is more than the sum of its parts, achieving a flowing majesty speaking of a cast and crew in complete, alchemical sympathy.”
The finale, however, feels rather contrived, an abrupt turn for the hyper-real thematically sound, but narratively jarring. Whilst tragedy is strongly signposted throughout, this deliberate breaking of the show’s spell is dominated by message above all else. It also risks side-lining all that’s gone before, simplifying a deftly weaved fable of agency, desire, and violence against women down to ‘walk them home’.
However, if rage and mute solidarity attend the show’s final moments, there’s an abundance of incandescent, extravagant, horrific and lyrical storytelling to enjoy beforehand.
Featured Image: Steve Tanner
BLUE BEARD is a Wise Children, Birmingham Rep, HOME Manchester, Royal Lyceum Theatre Edinburgh and York Theatre Royal co-production
Show Details
Venue: Royal Lyceum Theatre, Edinburgh
Dates: 12th March – 30th March 2024
Showtimes:
- 2:30pm
- 7:30pm
Age Recommendation: 14+
Admission: From 16
Running Time: Act 1: 60 mins | Interval 20 mins | Act 2: 38 mins
Accessibility
- Wheelchair Accessible Venue
- Wheelchair Accessible Toilet
- Audio Enhancement System
- Audio Description, Touch Tour, and Captioning on certain dates.
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