The Hand and other Creeping Tales
Fri, 23 Mar 2001, 12:01 pmWalter Plinge1 post in thread
The Hand and other Creeping Tales
Fri, 23 Mar 2001, 12:01 pmThe first thing that struck me as I filed into the studio space at the Blue Room last night for the late night (9.30) show 'The Hand and Other Creeping Tales' was the use of the space. Low-key, atmospheric and very creepy music framed a layered and versatile stage-space full of useful alcoves and dominated by a large carpet straight from what I imagined to be the Master's sitting room. A huge projected image of a Gargoyle loomed over the interlopers as we made our way to the seats.
A beautiful voiceover introduces the first story while cementing the ominous atmosphere and we're off.
'The Hand' consists of three short(ish) (early nineteenth century?) tales of the supernatural and sinister. Originally written by Joseph Sheridan LeFann and adapted for the stage by Shirley Van Sanden, the stories are brought to life by three players (being Elwyn Edwards, Monica Main and Shirley VanSanden herself) playing multiple roles.
The thing that really struck me about this show was that, stylistically, the storytelling and acting styles were faithful to the era and genre they were trying to evoke. The characters - often afflicted with what is repeatedly referred to as a 'nervous disposition' - seemed to have walked straight from the pages of a Poe-esque, slightly melodramatic tale of hauntings and strange happenings.
To this end the ghostly beings themselves (or their disembodied elements in the case of 'The Hand') are not palmed off by mysterious off-stage thumps and chain rattles, rather they appear right there on stage.
While this did produce the odd giggle and eye-roll from some audience members, I found it genuinely terrifying in the nineteenth century melodramatic way in which it was intended. This was due to the build-up of atmosphere and suspense which was so well executed in the small, darkened space.
Elwyn Edwards, with his smooth, rounded voice and professor-like demeanor was a casting coup and had no trouble switching from narrator to English gentleman to hunchbacked amulet peddler - a joy to watch. Monica Main and Shirley Van Sanden also flowed between roles with convincing precision though I had a few problems from time to time with the lack of strength in Shirley's voice. Luckily I was sitting close and this was never a real problem.
My only real criticism of the show (and it really isn't a big one at all but I feel impelled to put up something) is the same as with all late night Blue Room shows I have seen so far - length. It's a difficult line to tread, the late night show. You don't want to bang out a quickie and you don't want an interval but at the same time you are eating into some peoples' bedtimes.
The third and final story in 'The Hand' just went that little bit too long for my attention span. I loved the story and the performances, and was glad I was able to hang on for the very creepy ending, but my pillow was an immediate priority as soon as the show ended.
'The Hand and Other Creeping Tales' is a must for anyone who still gets shivers when they read 'The Raven.' It makes use of theatrical devices which greatly heighten atmosphere and make for a very creepy night at the theatre. Don't expect the visual special effects which seem to pass as horror these days - think Vincent Price with a bit less tongue in cheek.
A beautiful voiceover introduces the first story while cementing the ominous atmosphere and we're off.
'The Hand' consists of three short(ish) (early nineteenth century?) tales of the supernatural and sinister. Originally written by Joseph Sheridan LeFann and adapted for the stage by Shirley Van Sanden, the stories are brought to life by three players (being Elwyn Edwards, Monica Main and Shirley VanSanden herself) playing multiple roles.
The thing that really struck me about this show was that, stylistically, the storytelling and acting styles were faithful to the era and genre they were trying to evoke. The characters - often afflicted with what is repeatedly referred to as a 'nervous disposition' - seemed to have walked straight from the pages of a Poe-esque, slightly melodramatic tale of hauntings and strange happenings.
To this end the ghostly beings themselves (or their disembodied elements in the case of 'The Hand') are not palmed off by mysterious off-stage thumps and chain rattles, rather they appear right there on stage.
While this did produce the odd giggle and eye-roll from some audience members, I found it genuinely terrifying in the nineteenth century melodramatic way in which it was intended. This was due to the build-up of atmosphere and suspense which was so well executed in the small, darkened space.
Elwyn Edwards, with his smooth, rounded voice and professor-like demeanor was a casting coup and had no trouble switching from narrator to English gentleman to hunchbacked amulet peddler - a joy to watch. Monica Main and Shirley Van Sanden also flowed between roles with convincing precision though I had a few problems from time to time with the lack of strength in Shirley's voice. Luckily I was sitting close and this was never a real problem.
My only real criticism of the show (and it really isn't a big one at all but I feel impelled to put up something) is the same as with all late night Blue Room shows I have seen so far - length. It's a difficult line to tread, the late night show. You don't want to bang out a quickie and you don't want an interval but at the same time you are eating into some peoples' bedtimes.
The third and final story in 'The Hand' just went that little bit too long for my attention span. I loved the story and the performances, and was glad I was able to hang on for the very creepy ending, but my pillow was an immediate priority as soon as the show ended.
'The Hand and Other Creeping Tales' is a must for anyone who still gets shivers when they read 'The Raven.' It makes use of theatrical devices which greatly heighten atmosphere and make for a very creepy night at the theatre. Don't expect the visual special effects which seem to pass as horror these days - think Vincent Price with a bit less tongue in cheek.