The Book of Dust - La Belle Sauvage

‘A big show in an edgy time’: THE BOOK OF DUST – La Belle Sauvage – Bridge Theatre ★★★★

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Bridge Theatre, London – until 26 February 2022

First things first: this is the most wonderfully evocative, romantic and dramatic bit of set-projection you will see all year. Bob Crowley, video maestros Luke Halls and Zak Hein, Jon Clark on lighting, take a collective bow. They write with light.

So on a rippling river sweet-flowing or tempestuous, through a branchy, steepled and Prioried Oxfordshire, two children pilot a birchbark canoe on a desperate mission to save a baby. And we believe. Ashore, cobbles or grassland, a college quadrangle and the Trout pub at Godstow effortlessly rise around them.

It is, ironically, more of a staging coup than all the rather annoying lit-up chatty “daemons” which express each character’s essential Id in the hands of scampering puppeteers. Though I do very much like the worst villain’s hyaena, with its papery head and nervous laugh.

For this is Philip Pullman’s fantasy parallel world again: after the triumphant His Dark Materials trilogy a few years back at the NT, Nicholas Hytner (and ace adaptor Bryony Lavery) have got their hands on the first bit of the “prequel” story of the heroine Lyra’s birth. The dread Magisterium – a sort of 15c Catholic police state, familiar from Pullman’s rather dated paranoia about organized religion in the later episodes – wants to destroy her.

You might, in a woefully uncharitable spirit, wonder why a writer so repeatedly and Dawkinsly passionate against Christianity’s stories would write a fable about – er – a sacred baby who according to a “prophecy” is born to save the world from cruelty, and who is pursued by Herodish authority and spies. And wonder also why a writer who inveighs against CS Lewis’ Narnia would populate his river with similar old gods and witches , and give everyone a talking animal as a daemon. Even if he does add woo-woo scientific stuff about matter having  consciousness and a scholarly divining device called an alethiometer (Lewis had mere old fashioned wands etc, clearly not hanging out with as many physicists and cell biologists as his humanist Oxford heir).

But never mind all that. It’s a kids’ book, a love song to Oxfordshire and  a grand bit of storytelling in this skilful ,fast-moving and visually beautiful production     Its hero is a young find too: Samuel Creasey, on his first professional show, leads with charming, stolidly nerdy brio as Malcolm, the pub landlady’s 12 year old son and potboy, full of heart and adolescent decency, drawn into a dangerous world as the icy grip of totalitarian prelates intensifies. Ella Dacres’ Alice  is great too: shoutily fifteen, angry and contemptuous of Malcolm  until in the timeworn tradition of older children’s books they become friends in adversity.

It’s lovely casting, and as chief enemy and sanctimonious preacher Ayesha Darker also does a fine spike-heeled ,smart-suited nightmare CEO-lady; Pip Carter is a villainous villain, with all the unsettling sadistic sexual menace Mr Pullman likes to add.  Dearbhla Molloy as a kindly nun, and later an equally Irish Doris in a rebel camp, effortlessly steals every scene she is in.

So did  the first-night baby, who while sometimes prudently replaced by a dummy and sound effect is often on,  smiley and self- possessed and drawing aaahhhs and sighs from the audience which palpably hopes for another look. Even when supposed to be paying attention to mad stuff about the consciousness of matter, dons upset about research funding,  or who’s got the  missing alethiometer.

So Hytner and the brave Bridge have thrown genius at it, a big show in an edgy time, and as there are two more episodes to come Mr Pullman would do well to confide them to this crack team of interpreters. Because (how did you guess?) I found  the books far leas then gripping, never could finish one for mere irrritation at not buying into the fantasy, but I rather enjoyed the show. Result.

Www.bridgetheatre.co.uk to 12 feb

rating four but the fourth is a design mouse i will put in when at proper screen

‘A big show in an edgy time’: @lib_thinks gives an extra star to ‘ the most wonderfully evocative’ projection in @_bridgetheatre’s adaptation of @philippullman’s #TheBookOfDust #LaBelleSauvage. ★★★★ #theatrereviews

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Libby Purves
Libby Purves was theatre critic for The Times from 2010 to 2013. Determined to continue her theatre commentary after losing that job, she set up her own site www.theatrecat.com in October 2013. She personally reviews all major London openings, usually with on-the-night publication, and also gives voice to a new generation of critics with occasional guest 'theatrekittens'. In addition to her theatre writing and myriad other credits, Libby has been a presenter on BBC Radio 4’s Midweek for over 30 years. She is also the author of a dozen novels, and numerous non-fiction titles. In 1999, Libby was appointed an OBE for services to journalism.
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Libby Purves on RssLibby Purves on Twitter
Libby Purves
Libby Purves was theatre critic for The Times from 2010 to 2013. Determined to continue her theatre commentary after losing that job, she set up her own site www.theatrecat.com in October 2013. She personally reviews all major London openings, usually with on-the-night publication, and also gives voice to a new generation of critics with occasional guest 'theatrekittens'. In addition to her theatre writing and myriad other credits, Libby has been a presenter on BBC Radio 4’s Midweek for over 30 years. She is also the author of a dozen novels, and numerous non-fiction titles. In 1999, Libby was appointed an OBE for services to journalism.

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