STIMULATING ideas abound in Howard Barker’s reimagining of the Grimms’ Little Snow White, whose origins as a radio play show in the intensity of its powerful (if occasionally overblown) language and deft use of sound effects to create vivid scenarios that transform the space, despite an absence of scenery and minimal props.
C Too, Johnstone Terrace
A promiscuous queen is the central character, her famous vanity spun into a voyeuristic sex game played with her king - though even he has his limits.
This wantonness baffles Snow White, who longs both for a mother and a sense of her worth as a woman. “I am frightened I am not desirable,” she wails, with real anguish.
Though the actress playing the queen has the requisite pulchritude, she lacks the gravitas to convince us that she’s a 41-year-old, with a lifetime’s experience and heartache.
Every cast member gives his or her all, but there’s too much ENUNCIATION and too little modulation: many strike one note and hold it throughout.
And nothing is gained by turning one supporting character into a comedy crone with a mystifying accent.
Still, these earnest young players, mainly students, show promise. At times - notably the play’s hideous climax - they are truly moving.
Until 15 August