In Greek mythology the story of Orpheus and Eurydice does not end well for either of them. In short, Orpheus “blows” his “Get out of Hades Free” card, albeit in a very human way, and his beloved Eurydice is lost to the Underworld forever. Things fare somewhat better for protagonists Jasper and Agnes in this variation of the myth “Jasper in Deadland”. The narrative, with some extra twists and turns, remains more or less the same. I thought that this musical play was a brave and challenging choice for a first time director. However there are elements in this production that have been well translated to the stage. Director Keladry Rozitisolds, together with first time AD Kiara Irvine, have constructed a show that not only looks good but manages to hold the audience’s attention throughout.
Set and settings are sparse and the action takes place before a backdrop of tiny lights – the Cosmos, home to the Gods. Costuming by Magnus Carpenter and Moira Moore is simple and effective with the chorus attired in colour coded smocks. The red theme used in the first few scenes representing a fiery underworld was visually stunning. Choreography by Charlotte Miller was similarly uncomplicated and equally effective. The chorus work throughout provides much of this shows highlights. Director Rozitisolds has used the expanse of the Star Theatre’s stage to good effect. The ensemble makes full use of that and their combined energy certainly helps maintain audience interest. Scene changes are smooth and seamless, hence continuity is maintained and the action proceeds with a goodly performance pace from start to finish. I discerned no blemishes in that regard.
As a musical play I doubt that “Jasper in Deadland” is destined for greatness. I consider it not well written and found it not particularly easy to follow. Maybe I am at fault there because I was anticipating more levity and dark humour. Such instances did happen; the “Cause of Death” and “Nordic Gods” scenes did fit that bill, but were too sparse within a theme I felt had the potential to inspire greater fun. To their collective credit the cast made the most of what they had to work with. The music is low key, mostly sombre, a touch turgid even, and, I thought, somewhat one-noted throughout. Having said that I must confess the instrumentation on the backing tape was often pleasing with its rich double bass and viola driven notes. It was certainly a challenging score for untrained and (I assume) mostly untried solo voices to attempt, but creditable outcomes were the order of the day overall. The play lifted several notches in both interest and energy whenever the chorus was strutting its stuff. MD Jarrod Matulick had obviously put in the hard yards with the cast as a whole and the result was something he can be proud of. In both song and dance the chorus was the backbone of proceedings.
So to the players. Tom Hodgkison as Virgil, bookkeeper in the Underworld and later as Little Lucifer, invested both energy and purpose into his roles. Whilst his ability to project was good his articulation let him down a tad. This is a common malaise with young performers and every cast member needs to be aware of the crispness of their delivery be it spoken or in song. Jessie Chugg as Beatrix was also responsible for an energetic performance. She used the stage well and delivered her lines with purpose and great gusto. Her domestic routine with Dante (an equally well voiced Lucas Tennant) provided the audience with a notable comic highlight. They worked off each other very well indeed. Alana Lymn as Ammut gave her all to her role as the demon devourer of human hearts and gateway guardian. Her well voiced character perfectly matched the physicality of her performance. I considered that Marley Haitana as Madam Lethe took acting honours for the amusing character she constructed. She too matched vocal delivery with great physicality and her aside gagging routine was great fun.
In each of their several appearances as Norse Gods Hel (Jules Moylan) and Loki (Will Faulds) became scene stealers extraordinaire. They established themselves as a duo working with the necessary stage chemistry in order to capture favourable audience attention. Moylan also delivered a well voiced solo at the play’s end in a final observation as Eurydice. Olivia Tod as Jasper and Veronica Rogers as Gretchen/Agnes were both responsible for consistent, well defined and well balanced performances as the couple trying to find a way to reunite in a weird and complicated Underworld. Musically they both did their best to deal with a difficult score and it was their dogged commitment to their individual roles that shone through. Other cast members I have not mentioned all delivered cameos but their overall worth lay within the chorus ensemble which was the real star of this show. I hope you all, cast members, new directors, and stage crew alike maintain your obvious enthusiasm and soon add to your amateur theatre participation portfolios. The cause is most worth while!
