Yes the dashing quartet, Athos, Porthos, Aramis and D’Artagnan, and their swashbuckling deeds of derring do, are back in town at the Genesian theatre. This version, an adaptation by was a recent hot ticket at the Bristol Old Vic in the UK.
Based on the much loved tale by Alexandre Dumas, the simplified yet still complicated twists and turns of this epic story of ‘heroism, valour, treachery, close escapes and above all honour’ are told in short, sharp scenes.
Will D”Artagnan with the help of his friends retrieve the Queen’s necklace in time for her to wear it at the ball ?Will D’Artagnan officially become a Musketeer fulfilling his dream ? What of Constance, the Queen’s maid that he falls in love with? And what exactly are the Cardinal and Milady plotting behind the King’s back ?
There’s fine ensemble work with some of the cast doubling and even tripling up on their roles. The production features dangerous, exciting sword play and some very sumptuous period costumes.
The dancing for the ball scene in Act 2 was very well ‘executed’ with some morris dancing- rural folk dancing of North England origin- and even some more formal steps. Attentive audience members will notice allusions to The Sound Of Music and even another one of Dumas’ novels, The Count Of Monte Christo.
Nicholas Carter makes for a handsome and dashing Athos. Chenier Moore is darkly captivating as the troubled Aramis who strives to be a clergyman, particularly in a very swish black and silver outfit that he wears at one point. No wonder that Sabine is interested!
Hearty red haired, and sporting a very elegantly trimmed beard, Rai Trippet impresses in the role of the bold, extroverted Porthos.
The handsome, charming, poor young nobleman, D’Artagnan from Gascony, was well portrayed by Taddeh Vartanians . Joanne Coleman gave a charming performance as his loyal; though tomboyish sister, Sabine.
Anita Donovan impressed as the elegantly ringleted , sweet and beautiful Constance, the Queen’s maid, and, at times, looked like she had just stepped out of a Vermeer painting.
John Willis-Richards embodied well the role of the scheming, evil Cardinal Richelieu, with his imposing. penetrating gaze.Through his wheeling and dealing we see the corrupt, seamy underside of the court.
Elizabeth MacGregor reveled in playing the femme-fatale Milady, a mistress of disguises. Some of Elizabeth’s costumes were ravishing.
Tim Van Zuylen portrayed his Majesty King Louis X111, donned in glittering gold outfits, with gusto. Here was a petulant, childish, stubborn and self-centered King. There were hints of Mozart out of Peter Shaffer’s Amadeas.
Emma Medbury was stylish as the beautiful, passionate but, at times, rather thoughtless Queen Anne.
Owen Gimblett’s versatile set of anonymous grey archways and steps flexibly catered to the plays’ many locations.
This was a dashing adventure for all the family.
Running time- 2 hours 20 (approx) including one interval
THE THREE MUSKETEERS by Alexandre Dumas, as adapted by Ken Ludwig, is playing the Genesian Theatre, 420 Kent Street, in the heart of the CBD, until the 27th June.
Cast
Shane Bates Abbess/Mother
Chenier Moore Aramis
Nicholas Carter Athos
John Willis-Richards Cardinal Richelieu
Anita Donovan Constance/Adele
Taddeh Vartanians D’Artagnan
Theo Kokkinidis duke of Buckingham/De Bris
Emmanuel Said Inkeeper/Basille
Tim van Zuylen King Louis X111
Elizabeth MacGregor Milady
Raj Trippett Porthos
Emma Medbury Queen Anne/Elise
Daniel Collins Rochefort
Joanne Coleman Sabine
Michael Walker Treville/ Father
Creatives
Mark Banks Director
Kyle Rowling Fight Director
Owen Gimblett Set design
Susan Carveth Costume design
Michael Schell Lighting and sound
Debbie Smith Choreographer