Around the World in 80 Days
★★★☆☆ Enjoyable
The Royal Scots Club (Venue 241): Mon 12 – Sat 17 Aug 2024
Review by Hugh Simpson
Arkle’s Around the World in 80 Days, at the Royal Scots Club in Fringe Week Two, is a straightforward piece of family-friendly theatre. Inventive and committed, it has its drawbacks, but is always fun.
Laura Eason’s adaptation sticks much more closely to Jules Verne’s original novel than the many other versions; for example, we are told quite definitely that there will be no hot-air balloons.
Imperturbable English gent Phileas Fogg (Lawrence Wareing) is there, of course, using all of the new technology the year 1872 has to offer in order to circumnavigate the globe for a bet. He is accompanied by his resourceful valet Passepartout (James Dixon) and hounded by the over-eager Inspector Fix (Kirsty Taylor), who is keen to pin the blame for a bank robbery on him.
Madison Turner, Hannah Lally, Phil Barnes, Laurence Wareing, Zander Nisbet and Alexander Cook. Pic. Rob Shields.
The adaptation is linear and easy to understand, making this highly suitable for over-eights – although 90 minutes with no interval is a very long time for younger audience members. Jenny Tamplin’s direction is clear-sighted and helps the story largely race along.
Of necessity, it does sometimes become repetitive and potentially confusing, although a huge and ingenious map (designed and constructed by John Lally) lets everyone know exactly where they are, and what method of transport is being used.
sparse but informative
Of course, there are other clues to this too, in the sparse but informative furniture, or the elephant’s ears and trunk that appear. These last are sported by some of the ensemble (Zander Nisbet, Madison Turner, Hannah Lally, Phil Barnes and Alexander Cook) who supply the various other characters or comedy interludes as necessary, and do so with energy.
Wareing, meanwhile, is every inch Fogg, supplying the required upright, if slightly distracted, air. Dixon’s manic Passepartout is an ideal foil, while Taylor’s Inspector Fix is charming, if too guileless to be a real antagonist. Hazel Eadie gives Mrs Aouda, rescued by Fogg en route, a straightforward dignity.
James Dixon, Hazel Eadie and Laurence Wareing. Pic. Rob Shields.
Rob Shields’s lighting and Craig Robertson’s sound add a cohesion to the production that helps with the pacing. Dug Campbell’s original music, meanwhile, punctuates the action with melody and grace.
There are definitely problems with the storyline. Not just in its stop-start nature, but also in the way it tries to modernise. National stereotypes are largely out (except for Passepartout, or the braying habitués of the Reform Club). This means, for example, that the Native Americans who attack a train are now just ‘bandits’.
Empire and colonialism
The fact remains that the whole story is really about Empire and colonialism, however. An attempt to address this in a speech by Mrs Aouda seems tacked-on, and by calling attention to the problem simply serves to muddy the waters further. The more emotionally charged moments later on, moreover, do not work as well as the more straightforward journey of adventure, and seem guaranteed to try the patience of the children in the audience.
Most of it remains great fun, however, and works as a rip-roaring piece of family entertainment.
Running time: One hour and 30 minutes (no interval)
The Royal Scots Club (Hepburn Suite), 29-31 Abercromby Place, EH3 6QE (Venue 241)
Monday 12 – Saturday 17 August 2024
Daily at 6.15pm
Details and tickets: Book here
Website: https://arkle-theatre.com
Facebook: @Arkle Theatre Company
ENDS
