New Zealand Premiere - Paris
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Director: Chris Burton
Musical director: Trevor Castle
Speirs Centre
New Zealand premiere, March 25 – April 3, 2004
Myth and history are brought to life with a modern twist in this powerful production of Paris in the Boys’ High Speirs Centre. The famous war between the Greeks and Trojans has been given added impetus with a symphonic rock score, performed by a large cast and orchestra. It gives the old legend a terrific make-over.
Basically, this is how the story goes. Paris, a prince of Troy, played with plenty of feeling by Dan Kearney, picks the goddess Aphrodite as the winner in a sort of immortal-being beauty pageant. As a reward he is promised the world’s most beautiful woman. Conveniently, that woman is on hand to rescue him when he is shipwrecked while on a diplomatic mission to the Greeks. Big problem here though, because Helen, the lady in question, is married to Menelaus King of Sparta.
That Helen goes with Paris is just the excuse brother of Menelaus, the manipulative King Agamemnon, needs to go to war against Troy, and 10 years of bloodshed and suffering ensue. Hey, the story could easily have come off the presses or the internet yesterday, it’s that current. Convincingly in context, this young cast make a superb job of retelling this timeless tale.
Extending their vocal chords and playing abilities, the music may be a tad loud to hear all the lyrics, but the presence and energy generated by this ensemble makes for enthralling theatre. Brooding and megalomaniacal, the squabbling Greek leaders plot to take over the world. These guys Agamemnon, Menelaus and Achilles have plenty of presence certainly know how to dominate a stage
Back in Troy, Hector lambastes his brother’s stupidity, while his sister Cassandra a prophetess, foresees doom, death and destruction.
Show director Chris Burton has uncovered a wealth of acting and singing talent in young performers like Hannah Darroch as Helen, Simon Kersten’s Hector, Anthony McGrath’s Achilles, Torum Heng’s Cassandra, Scott Joblin’s Agamemnon and in ensemble players Alana Boyd and Emma Dixon.
In addition to these fine individual performances, the ensemble turns in some beautiful chorus numbers, while the cleverly contrived set allows maximum use of the compact stage. This use of mobile scaffolding makes for fluid transitions from scene to scene, as well as providing impact as the walls of Troy, or as the famous Trojan Horse, which in this version becomes literally the butt of a drunken joke.
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Paris is a production that will surprise you, grip you and even move you.
By Richard Mays.
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