Return To The Forbidden Planet

Rather like the Rocky Horror Picture Show, Return to the Forbidden Planet, (Shakespeare’s forgotten Rock and Roll Masterpiece) has a cult following and hard core fans will travel from far and wide to see productions and hope against hope that the production will be true to their memories of the original 1990’s touring production directed by its creator Bob Carlton.  

Director Martin Holtom and his talented Cast, Crew and Production Team did exactly that in this show, taking the key elements of the fusion of 1950’s serialised Science Fiction (think Flash Gordon), a story line driven by The Tempest with classic twists on the Bard’s text from many plays “What light through yonder Airlock Brakes” being one example, and a Rock and Roll soundtrack including such classics as Great Balls of Fire & Good Vibrations to create an hysterical (for the right reasons), exhilarating, bonkers, high energy night of entertainment that has the whole audience dancing during the curtain calls.

Return to the Forbidden Planet is hard to categorise but has a number of key elements all of which were on display in the BMTG interpretation.  First you need a Captain Tempest that has expert comic timing, playing this pivotal character as sincerely stupid Kevin Chatten was simply perfect in the role.  His apparently effortless timing, while channelling a hybrid of Captain Kirk & Jason Nesmith (Galaxy Quest) had the audience in the palm of his hand within the first 5 minutes. Kevin didn’t put a foot wrong throughout the evening with so many laugh out loud moments.

Next you need the Robot Ariel who is able to roller-skate effortlessly, sing a great guttural Alto/Baritone and deliver great comic timing whilst also performing in a robot suit complete with full silver face make-up and halo of flashing lights.  From her first entrance through a smoke filled, light blinding Air-Lock Keli Wain delivered Ariel to perfection.  You would never know that she had not skated before landing this role, and her quality of movement coupled with spot on vocal delivery was a testament to her commitment during the rehearsal period.

The next essential ingredient is to make the band an integral part of the on-stage cast and this was achieved by MD Chris Toon in a number of ways.  First the set had been designed by Chris and Martin to ensure that a small band and MD could always occupy the stage including a large ramp that ensured the cast had room to roam into the audience at every appropriate opportunity and also ensure that physical disability was not a barrier for any team member.  Next Tim Yeasley as Cookie simply smashed it.  His virtuoso vocals and guitar playing in “She’s not There” and “Great Balls of Fire” coupled with his excellent portrayal of the vulnerable, easily led, ships Cook broke down any barrier that the audience might have seen between Cast and Band.  Finally, the horn section were amazing, they were in constant motion without losing focus and threw themselves into the action while also delivering crisp solos and musical backing.

Finally, you need the rest of the principals and ensemble to bring everything they have to the party.  Mina Holtom was excellent as the scheming Science Officer Gloria and vocally shone in “Go Now”. Rhodri Denton ensured that Prospero was not just a caricature “Evil Genius” but was driven by his need to protect is Daughter Miranda from what he sees as the captain and crew of space pirates.  Charlotte Howarth was the quintessential Miranda with a character arc that moved from “young budding virgin” to self-aware femme-fatal with brilliant movement, vocal work in classics such as “Teenager in Love” and her diction was crystal clear making the Shakespeare dialogue clear and very understandable.  Jodie Lakin with her brilliant dance moves and dramatic delivery was on great form as the Navigation Officer leading the crew in most numbers and working effortlessly with the horn section on their raised platform.  Finally, George Lamb played the Bosun effortlessly as the obvious brains/power behind the captain with just the right combination of sarcasm, patience explaining anything complicated to the captain and discipline for the crew managing ship operations from his centre stage console.   The small ensemble all added their unique characters to the ship’s crew so congratulations to Victoria, Christine, Jane, Ruth, Matt, John and Andy.

Although this show is a high energy romp this is only possible if the choreography is complementary to the action and the technical elements of the show, including over 50 sound effects and 20 Video effects and many lighting queues go off without a hitch.  Emily’s Choreography met the mood in every respect allowing the cast to enjoy themselves and this enjoyment was infectious as the cast descended into the audience during the curtain calls.  The technical elements and timing were delivered expertly with very few hitches on this opening night.   The whole show was infectious fun, with excellent sound balance, and the audience left entertained and with their sprirts uplifted, which was just what the Doctor ordered as we move out of lockdown times and back to the joy of live Theatre.

Congratulations to Emily, Chris Martin and the whole of the team – a brilliant spaceship created without buying in any pre-built set, excellent costumes and non-stop energy from every performer, cast, crew and band member.  I look forward to seeing you at some time in the future. 

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