Review: Clockwork

Clockwork, 12th – 16th January at the ADC Theatre. BEN BLYTH is impressed by this inventive show.

Clockwork Larkum Studio Philip Pullman Theatre

12th – 16th January at the ADC Theatre

 

Directed by Holly Race


****

 

As I step into the Larkum things begin to go more than a little weird. A German/Pirate/Russell Crowe barkeep growls at me to move along a seat. Terrified I obviously obey, worried about his pirate magic and whatnot. What had actually happened, I later discovered, was that I’d just had my first 100% genuine experience of ‘steampunk’ – a cunning design aesthetic somewhere between ‘punk’ and ‘steam’- I just didn’t realise it yet. 

 


 

Photos: Will Seymour

The scene is set in a cosy German pub, in the quiet town of Glockenheim. It is the night before apprentice clock-maker Karl unveils his new piece of clockwork in the town square. This has excited the interest of all the locals of note, who gather in the tavern who prepare for the big day as only Germans know how – with a good, old fashioned, storytelling. Stay with me. Karl, like every self-respecting Phd student, has the end of his apprenticeship in sight but has actually done bugger all. A timely intervention from master clockmaker and Lord Asriel archetype Dr. Kalmenius sets the story in motion cunningly through his ability to stop time and provide irresponsible apprentices with clockwork killers.

 

The fantastical elements of the story were excellently conveyed through the projections of cogs, beams, rooftops, trees, and clocks that served the dual purpose of establishing a coherent, intelligent design aesthetic and keeping potentially weary scene changes to a minimum. Gillian Bates and Laura Barkes’ sketches ensured that the story seamlessly wove between gothic fairytale woods, early industrial town, and hearty German pub with sufficient pace and verve to keep even the most attention seeking child pacified. 

 

Technically, however, this was a bit of a Jekyll and Hyde production. The timing for clockwork sound effects and heartbeats was excellent, and used to create moments of real stillness and gravitas. Lighting changes, on the other hand, were gratuitous, distracting, and more than a little rough around the edges. Perhaps this is just a sign that the tech was under-rehearsed, and hopefully this will improve throughout the run. 

 

With such a design heavy directorial focus, the actors weren’t asked to do an awful lot. As such the natural ability of some performers over others meant that a disparity of talent appeared, and that slightly grated. Commanding and developed performances from Matt Jamie and Eleanor Buchan were set against caricatures, fine for a fairytale, but Clockwork can be so much more than a children’s bedtime story. 

 

More could also be done with the Larkum studio space. An attempted proscenium does not work when either the stage is not raised or the audience raked. I was in the third row and struggled to see most of this production. With the projections on just two walls a Corpus Playroom-style L, thrust, traverse, or even in the round, would have solved these sightline problems. Similarly, more thought should have been put into entrances and exits – with the clinical light of the ADC bar shattering the carefully created illusion whenever any character exited downstage right. 

 

All in all, however, this was an enjoyable show. It’s the sort of production that would go down well in Edinburgh – short, fast-paced and visually intriguing – Clockwork maybe a little rusty (no I didn’t), but there’s no reason that, like a fine malt whisky, this show won’t improve with age. With projections on all four walls, the audience in the round and the entrances sorted, this could be piece of quality immersive theatre suitable for all ages.