David Greig’s much-lauded mountaineering survival story fails to reach the dizzy heights.
Love London Love Culture rounds up the reviews for Tom Morris’ production of Touching the Void which is now playing at the Duke of York’s Theatre .
Make no mistake, Touching The Void at the Duke of York’s Theatre is tantalising theatre & what David Greig has achieved in this adaptation is remarkable.
The true story behind Touching The Void and the endeavours and trials that befell mountaineer Joe Simpson and his climbing partner Simon Yates on the Siula Grande mountain in the Peruvian Andes has been recognised in both Simpson’s 1985 bestseller and Film Four’s acclaimed docu-drama released some 18 years later.
Casting has today been announced for the West End transfer of Tom Morris’ production of Touching the Void which will see original cast members Fiona Hampton, Patrick McNamee and Josh Williams return to the show, joined by Angus Yellowlees.
There is a depth and grit to Touching The Void at the Lyceum that threatens to carry all before it.
We know the story of Joe Simpson’s book: climbing in the remotest Andes with his friend Simon Yates, but theatre sometimes gives films – and books – a remarkable translation, making stories deeper, stranger, more tense. Touching the Void is an example of that.
David Greig’s riveting adaptation of Simpson’s Touching The Void has made the transition for an innovative co-production, led by Bristol Old Vic, which is now touring.
Touching The Void is a theatrical triumph. David Greig, Tom Morris and the team have created a piece of theatre that excels beyond mere adaptation.
Wertenbaker’s play is set on the Winter Hill of the near future, as opposed to the not-so-near past, where a chunk of the land has been sold to developers who are constructing a luxury skyscraper hotel there, set to completely alter the way that the hill dominates the landscape and the town of Bolton below it.
I’m fully on board with Yellow Earth Theatre’s objectives of identifying and investing in British East Asian emerging and established actors, writers and directors, so it does pain me a little that their production of Christopher Marlowe’s Tamburlaine didn’t quite do it for me.