The Light Princess - National Theatre - Saturday 5 October

Based on a 19^th century Scottish fairy tale by George MacDonald, the National attempts to grab a slice of the Wicked pie with music and lyrics by Tori Amos, book by Samuel Adamson and direction courtesy of Marianne “War Horse” Elliott.

Two kingdoms, Lagobel, a desert rich in gold, and the coastal Sealand, with the attendant treasures that unlimited access to water brings, are separated by a verdant yet dangerous wilderness populated by dragons.

Both monarchs are widowed and King Darius, the formerly benevolent ruler of Lagobel also loses his son leaving him consumed by bitterness. His daughter, Princess Althea, emotionally frozen at the loss of her mother and brother, no longer takes life seriously.  She is unable to cry and gravity loses its’ effect on her, leaving her floating above all around her. Her father loses patience and offers her hand in marriage to any suitor who can keep her feet on the ground, no matter how gruesome their methods. Meanwhile in Sealand, King Ignacio’s grief stricken son Prince Digby remains resolutely earthbound, devoid of joy, unwilling to take on his father’s mantle of warmonger.
 

Althea and Digby’s paths cross at a magical lake, but I’ll leave the finer details of the plot there, allowing you to hazard a guess at the trajectory.
 

Xenophobia, climate change, feminism and the transformative powers of true love all get a look-in, occasionally a little clumsily, but designer Rae Smith’s gorgeous production is a constant visual feast. The shimmering lake with flying fishes, copulating frogs, haughty flamingos and sensual water lilies that opens act two is beautifully realised and a wonder to behold. Amos’ score may lack a defining “Defying Gravity” moment and I am unable to recall a single song, apart from the myriad of rhymes with the clunky H2O, but it washes over the auditorium like an ocean of delicious melted chocolate.
 

Clive Rowe is a magnificent troubled King Darius and Amy Booth-Steel as Althea’s sole friend Piper is incredible, anchoring the story as a confidante to both the princess and the audience, we root for her almost as much as Althea, with satisfying Thatcher-esque results. Nick Hendrix is a suitably disturbed Prince Digby, finally losing his anxieties together with most of his clothes, revealing a ripped torso and giving proceedings an added and much welcome frisson.

The evening, however, belongs to Rosalie Craig’s Althea and the four acrobats that keep her floating for the entirety of act one. How she manages to sing so gloriously whilst being manhandled every which way in a corset is a feat in itself. Her difficult teenager gradually accepts of the realities of life and becomes a woman before our eyes.

Ending like a traditional pantomime, with a witty epilogue tying up any loose ends, this is a Christmas treat come early and a triumph for all involved, not least as a showcase for Rosalie Craig’s extraordinary talents as a leading lady.

The Emerald City in Victoria better watch out, there’s stiff competition across the river.

Booking until 9 January 2014 (may extend), floating high and truly magical - http://www.nationaltheatre.org.uk/shows/the-light-princess
Reblog from Front Row Dress
http://www.nationaltheatre.org.uk/shows/the-light-princess