Return to the Forbidden Planet

Return to the Forbidden Planet

Oxford Playhouse, 12-15.11.03

A sci-fi “b” movie from the 1950s, the works of William Shakespeare, and some of the most cheesy rock and roll songs ever written sounds a bizarre combination: but together adds up to a lot of fun.

The action is set entirely on the bridge of a spaceship, which finds itself sucked towards a distant planet. All very “Star Ship Enterprise”, with a captain, navigator, and female crew. The only connection with the outside world being a screen with some black and white footage of events on the planet and a wonderfully created narrator figure (James Methuen).

The plot and the characters of both the musical and original film are based loosely on Shakespeare’s Tempest, but it is the music that makes the show fly. Songs like “Good Vibrations”, “Why must I be a teenager in love?” and “Great Balls of Fire” to name a few.

So how does it work? Start with an affectionate parody of a sci-fi “b” movie of the 1950s with all the pseudo jargon you would expect, including expressions such as “polarity reversal”. Entertaining in itself - but throw in some of Shakespeare’s best known lines (not just from The Tempest), then every so often launch into a fifties/early sixties pop song. Words and lyrics are gently subverted with silly rhymes for plot development and laughs.

A show like this can be deceptive; the overall atmosphere of parody can hide the musical demands of twenty-eight songs and routines. So although well suited to the enthusiasm of an amateur cast, the musical numbers and choreography can be demanding.

Gabriel Vick (Tempest) and Amy Hayes (Gloria) particularly impress with their singing. Becky Lowton effectively plays Prospero’s daughter Miranda as both alternatively innocent and vamp. Chris Vessey as Cookie, and Mark Schaan as Ariel (a robot in this show) provide strong support. Chris Heaney dressed in long black leather coat and shades is suitably villainous.

Even with strong lead players the chorus makes or breaks a show like this. They looked the glamorous part, and for many of the songs took centre stage. Most important of all the cast looked like they really were having a good time.

The audience certainly were. This is a show like “The Rocky Horror Show”, where audience participation is a key element. These student productions tend to draw a partisan crowd who are quick to participate and party, making a show like this really work.

Go; see how you can personally reverse polarity!

James Davies, 12.11.03

Return to the Forbidden Planet Oxford Playhouse, 12-15.11.03 A sci-fi “b” movie from the 1950s, the works of William Shakespeare, and some of the most cheesy rock and roll songs ever written sounds a bizarre combination: but together adds up to a lot of fun. The action is set entirely on the bridge of a spaceship, which finds itself sucked towards a distant planet. All very “Star Ship Enterprise”, with a captain, navigator, and female crew. The only connection with the outside world being a screen with some black and white footage of events on the planet and a wonderfully created narrator figure (James Methuen). The plot and the characters of both the musical and original film are based loosely on Shakespeare’s Tempest, but it is the music that makes the show fly. Songs like “Good Vibrations”, “Why must I be a teenager in love?” and “Great Balls of Fire” to name a few. So how does it work? Start with an affectionate parody of a sci-fi “b” movie of the 1950s with all the pseudo jargon you would expect, including expressions such as “polarity reversal”. Entertaining in itself - but throw in some of Shakespeare’s best known lines (not just from The Tempest), then every so often launch into a fifties/early sixties pop song. Words and lyrics are gently subverted with silly rhymes for plot development and laughs. A show like this can be deceptive; the overall atmosphere of parody can hide the musical demands of twenty-eight songs and routines. So although well suited to the enthusiasm of an amateur cast, the musical numbers and choreography can be demanding. Gabriel Vick (Tempest) and Amy Hayes (Gloria) particularly impress with their singing. Becky Lowton effectively plays Prospero’s daughter Miranda as both alternatively innocent and vamp. Chris Vessey as Cookie, and Mark Schaan as Ariel (a robot in this show) provide strong support. Chris Heaney dressed in long black leather coat and shades is suitably villainous. Even with strong lead players the chorus makes or breaks a show like this. They looked the glamorous part, and for many of the songs took centre stage. Most important of all the cast looked like they really were having a good time. The audience certainly were. This is a show like “The Rocky Horror Show”, where audience participation is a key element. These student productions tend to draw a partisan crowd who are quick to participate and party, making a show like this really work. Go; see how you can personally reverse polarity! James Davies, 12.11.03