Shakespeare once famously compared the world to a theatre stage in As You Like It – tonight, theatre company Tilted Wig have turned things on their heads to make the stage a world.
This energetic take on Jules Verne beloved tale of Phileas Fogg, the London gentleman who wagers his fortune and reputation on a bet that he can circumnavigate the globe in 80days or less, has been adapted and directed by Juliet Forster.
Forster has added a new depth to the journey by weaving it around the real-life memoirs of Nelly Bly, a pioneering American journalist who took on Fogg’s fictional journey and bested his time by a week. And she cleverly takes time to address the more uncomfortable moments of oppressive patriarchy and colonialism within Verne’s novel, without glossing over or censoring them.
The result is a lovely marriage of slapstick, circus skills and storytelling. It’s an ambitious one too, using a small ensemble of five actors to take us along on Fogg and Bly’s respective voyages and a single ‘circus tent’ set around which to base our action – albeit one that is cleverly designed with ladders and platforms to add height, depth and a splash of acrobatics to the show.
Each actor does a fine job with their multiple roles, bringing a wealth of accents, costumes and fluent physicality to each character.
Alex Phelps is excellent as the seemingly emotionless Fogg, allowing the bursts of feeling he does experience to pack a punch. There are lovely moments between him and Genevieve Sabherwal’s Aouda, particularly when all hope seems lost, with good chemistry between the pair. Katriona Brown is a warm and engaging Bly, recounting her memories with eloquence and passion.
And Eddie Mann is the show’s stand out as the relentless Detective Fix, determined to pursue and arrest Fogg, convinced he is a bank robber being sought by the police. His additional musicianship, a wonderful routine on a seesaw with Wilson Benedito’s charming Passepartout, and audience ad-libs are a recurring highlight.
But, like the hurdles Fogg and Bly face on their travels, the show has some issues that threaten its success. With a static (yet colourful) set, a small rotating sign is our only real clue of where in the world we are.
Lighting changes and a few sound effects aren’t quite enough to do it. When the cast are describing their surroundings – towering Minarets in the Middle East, beautiful temples in India, the choppy seas towards China – it feels like just a little bit more (projections; more music) could have really crystalised a sense of place rather than leaving audience imagination to do the heavy lifting.
A circus sequence, whilst executed with flawless authenticity, feels a little bit drawn out and, dare one say, a teensy bit basic for an audience more accustomed to the gravity-defying displays of daredevilry that regularly appear on today’s TV talent shows.
And the whistle-stop nature of the show, necessary for squeezing in the key plot points of Verne’s book, means that significant obstacles – troublesome border officials, missed boats, false arrests – get resolved quickly and calmly, with no real sense of tension or peril.
Nevertheless, the show remains an enjoyable and engaging watch for all the family, and the cast work beautifully as an ensemble to bring new life to a classic tale.
Around the World in 80days in on till Saturday 4th March. For tickets visit https://www.blackpoolgrand.co.uk/event/around-the-world-in-80-days
Reviewer: Lou Steggals
Reviewed: 28th February 2023
North West End UK Rating: ★★★