Skellig

When I received the invitation to see LCT's production of 'Skellig', I was a little apprehensive, to say the least - something in the back of my mind recalled a review I had read of the Nottingham Playhouse production - but I came completely in the dark about the play and its wider implications. What a revelation it turned out to be!  I cannot remember a play that tugged at my heartstrings as this one did. Adapted from his own book, Michael Almond gave us a thought-provoking insight into the minds of young people as they struggle with emotions in difficult situations.

The story, though simple, has a young boy, Michael, who moves with his parents into a ramshackled old houuse - he explores his new surroundings and finds a strange 'creature' lurking in the garage - a grumpy, sad old man with a strange hump back - is this man a ghost, an angel or even a bird? These are the thoughts that go through Michael's head. His parents are preoccupied with house renovations - his mother is pregnant and the baby girl is born prematurely, having to go into an incubator. The story then focusses on Michael dealing with a difficult situation - there are outburst of arguments, love and the spectre of the baby near death. Michael befriends a neighbour, Mina, a home-schooled precocious girl who has a fascinatiion with birds and nature.

The play was sensitively directed by Dan Dainter, who must have spent many hours with his cast, nurturing them to tackle a very difficult subject. He also designed the set, which was wonderfully evocative with levels and dressed beautifully - everything had been meticulously thought through.

The cast was led by James Hart as Skellig - an experienced actor, who, at all times kept in character, no easy task, but one to be applauded. Michael was played by Dominic Leckenby, with Maisie Greenall as Mina - both very talented young actors. Michael's parents (Janine Walker and Shayne Hall) gave well-drawn performances. There were outstanding performances by the supporting actors, excellent characterisations and emotions from the young and (older) cast. I heard every word of dialogue - it was clear and meaningful.

As I have always said, the show could not go on without the dedication and experience of the people 'behind the scenes' - stage management, lighting, sound, AV design,costume (particularly Skellig's wings - fantastic!) - props, hair and makeup (again, Skellig's appearance) and all the other dedicated souls putting in time and effort to make the play such a success.

In his programme notes, Dan the director, recalled how he had fond memories of the book from primary school and wanted to bring it to life for LCT.This he did in a most unforgettable and professional way, in spite of all the setbacks over the last two years.

The final revelation of the baby's survival and naming her Joy - well, that really brought the emotion to a wonderful conclusion.

I extend my congratulations to everyone involved.

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