Men At Arms

THERE IS always an inherent challenge in adapting a book into a play, and particularly in re-creating the vivid and comical Discworld of Terry Pratchett on to the stage.

I fully acknowledge that there are strings of devotees of the Pratchett series of 41 novels about this fantasy dystopian world of assassins, trolls, dwarfs and clowns, but I must also acknowledge that (a) these completely passed me by - and will probably continue to do so - and (b) that this was my first experience of a dramatic adaptation of Pratchett.

Pratchett devoteeism aside, looking at it purely from a dramatic perspective, the challenge to create such a world is to find a particular style that will reinforce removal of reality and give the story a life of its own while still staying true to the spirit of the original.

A hard call for director Aaminah Khan, but certainly a brave stab at clearly revered but inherently difficult material. The secret to this conundrum is to be true to the author’s (and adapter’s) vision. The stylised art deco inspired set helped but - most importantly - it needed to present a particular acting style which would have given the actors (and audience) access into this strange nether world. This is achieved through use of such techniques as an exaggerated movement style, outrageous costuming, and consistently grotesque make-up. We need to be drawn in and captivated. After all, it is set in the city of Ankh-Mopork in Discworld - a flat planet balanced on the backs of four elephants which in turn stand on the back of a giant turtle.

There were indeed glimpses of this grotesque in the two interesting performances Christine Mayes as Nobby and Ayla Starling as Dr Whiteface (the weird pierrot clown). However, for the most part the interpretation was played realistically, which is completely at odds with what the script – and the environment - demands. The production missed an opportunity to explore this weird avenue which would have not only given the large cast that required booster of unusual energy but also taken it to a completely different level.

The complex plot involves a myriad of characters but suffice to say involves murder and corruption, in itself part of Pratchett’s continual intense satire on society. It is full of corny jokes and silly word plays which add to the ridiculousness of the entire scenario, but there were a couple of standout performances, most particularly Adrian Corbett as Samuel Vimes, and (in his first appearance in Townsville) Nathan Butler as Havelock Vetinari. Butler conveyed a menace through an almost Dracula-like stillness, and we are likely to see a great deal more of this actor in the future.

Director Khan and assistant director Michael Ruhl are to be applauded for managing such a huge community theatre cast in such a small theatre. This is no mean feat. However, as directors of community theatre the pair would have benefited from a more experienced third eye to oversee their work. Great advantage would be gained from placing more attention to stagecraft (including unnecessary and cumbersome scene-changing), pace, and energy, which will give better balance to the overall shape of the play.

Trevor Keeling

Photographer: Martin Hodgson