Kneehigh
have in some respects become victims of their own success. The
Cornish-based touring company has built a deserved reputation for
inventive, evocative stagings of “wonder tales” from various
mythologies and folk traditions, with music, movement and visual
richness integrated with the more conventional theatrics to produce a
dreamlike-yet-true sense of a mythic event that can tap into our store
of archetypal recognitions and emotional responses. To that extent,
then, a production in which they do what they normally do, as well as
they normally do it, is for those of us familiar with the company no
longer the evening of excitement and magic it might otherwise be, and
most certainly is for other folk.
Here,
then, adapter and director Emma Rice and writer Carl Grose present a
version of “The Girl Without Hands”, the Grimm brothers’ tale no. 31. A
poor man makes a deal with the Devil and inadvertently sells him his
daughter; too clean for the Devil to touch her even after her hands
have been cut off, she goes to live in the wilderness, where she is
found by a prince who falls in love with her; war and the Devil’s
machinations sunder them once more for another seven years. The music
which Stu Barker weaves through the tale is a kind of junk blues: when
you open with a slide-guitar number set at a crossroads, you are
ineluctably in the musical territory of Robert Johnson and the
narrative constituency of infernal deals.
Musician
Ian Ross augments the cast of five: Stuart McLoughlin as the Devil,
Stuart Goodwin as the father and the prince and Audrey Brisson,
Patrycja Kujawska and Eva Magyar who play the central figure at
successive points in her tale. The oddity is that this “feminist
folk-tale” features a central character who finally speaks her first
words six minutes before the end of the two-hour show, and those words
are not her own but a reading from the book of her story. This is a
version which is by turns grotesque and majestic, which repeatedly
cartoons itself yet finds a deeper truth in that caricaturing. It bears
the Kneehigh trademark on all moving parts. Is that still enough? Maybe.
Written for the Financial
Times.