Return to the Forbidden Planet

‘Return to the Forbidden Planet’ is a 1960s Jukebox musical, written by Bob Carlton about 20 years ago. The storyline is based on two very diverse topics, Shakespeare's ‘The Tempest’ blended with the classic science fiction film, ‘Forbidden Planet’. The show closed after about 250 highly successful performances just off Broadway. The musical went on to be nominated for two Outer Critics Circle Awards. This production is presented by the Stirling Players and is brilliantly directed by Ryan Taaffe. It plays at Stirling Theatre, Morris Place, Innaloo until 30^th July. All shows begin at 8.00 pm, except Sunday matinees at 2.00 pm.  There will be an extra matinee on the 31^st July.

 
 

       On your arrival at the theatre you are met by the delightful American crew of the intergalactic spacecraft D. Ter Gent (Chandon Haslam) and Axel Dent (Jess Temby), who take you to your seat and ask you to fasten your safety belt ready for takeoff. The crew carry out their routine before the navigation officer (Emma Shaw) does the countdown. Lights flash, the spaceship shudders and as the tune ‘Wipe-out’ plays, the craft vibrates in time to the music. As the tempo slows, Captain Tempest (Peter ‘Pear’ Carr) announces that they have left earth’s gravity and are now in space.

        Bosun (Jonathan Best) has the Science Officer (Rachel Monamy), a Princess Leia look-alike, check the craft. Their spaceship is mysteriously drawn to an uncharted planet, D'Illyria. Astronauts Cutie Cul (Maddie Hangan) and Andy Septic (Jessica Taylor) see that their instruments indicate human life on the planet. They open the airlock doors and the demented scientist Doctor Prospero (Paul Treasure) and his beautiful daughter Miranda (Samantha Nicole Vernon) enter. They explain that were marooned there many years ago by Prospero’s wife, Gloria.

       When Miranda comes on board, the spacecraft’s chef, Cookie (Evan Roberts) immediately falls in love with her but she has eyes for another.

       Will the craft survive its journey? Will Robot Ariel (Daniel Burton) – a Red Dwarf Kryten double - be able to cope with the demands made upon him? Will the monster with the glowing green tentacles kill anyone?

 
 

The costumes that were stunning (designer Sally Sheehy) were most authentic, being mainly made of black and brightly coloured hologram Lycra.  Prospero was dressed in a classic Shakespearean scarlet robe with gold trimmings, which matched his character perfectly, as Prospero’s dialogue was written and delivered in the traditional Shakespearean genre. The extremely funny script was filled with many of the Bard’s well-known quotes and passages, delivered as groan-producing puns or Spoonerisms.

The set was outstanding; the design was realistic, with Dalek style console desks and many very successful effects. Perhaps a little too much smoke effect.

The stage was moved forward into the auditorium by quite a large margin to allow the musicians to be positioned, out of sight, behind the intermediate wall. Many demands were made on the stage manager, Carol Lange and her assistant Craig Prince, but the show flowed beautifully.

The programme (Christian Ingram) was sensibly priced at $3 for an exceptional full coloured, magnificently designed, eight sides of glossy A4. The photos (Fat Frog) of the cast were lit from below, to give the crew that mysterious appearance. This was just another proof of the immense work that has gone into every aspect of this production.

The lighting design (Ryan Taaffe) was excellent and although very complex and demanding was smoothly operated by Carole Wilson. Sadly the computer crashed on a Sunday matinee and the show had to be cancelled and the audience sent home. Last night with sheet lightening in the sky, I am sure there were a few more worries about the computer. The sound (Ian Wilson) track was filled with quality effects, although I think the dreaded headsets may have been giving trouble.

The well thought out choreography (Hillary Readings assisted by Shannon Aitken) was demanding, exciting and high energy, but the craft’s crew, in their short shining Lycra dresses, with wire around the hem to give the Marilyn Munroe look, smiled and gave it their all.

With 28 numbers blended into the storyline, and many fill-in effects, musical director Kate McIntosh and her eight-piece orchestra (Helen McIntosh, Andrea van Graan, Erin Wills, David Ellis, Steve O’Dea, Vlad Sturdy, Chris Ingram and Nikki Gray) had their work cut out. The balance of the music and the volume was perfect allowing the cast’s singing to be heard clearly. It is a shame that the musicians cannot take a bow, as the only time we saw them was in the dark, after the interval, climbing back into their pit.

The director (Ryan Taaffe) has served the whole show up in a dry humour manner, with the superb cast giving it a deadpan delivery. There was plenty of movement, excitement, surprises and some great performances. Enormous fun, the smile never left my face for the whole two and a quarter hours.

The worst part of the production? Is the name!! I looked at ‘What is on today’ and thought not my cup of tea. How wrong can one be? There were plenty of folk in the audience in their seventies and they loved it as much as the teenagers.

If you like Shakespeare, 60s and 70s pop music, a really good laugh and Red Dwarf on ABC tv then don’t miss this spectacular.