A theatrical adaptation of J.R.R. Tolkien’s classic novel The Hobbit (1937) is an ambitious undertaking regardless of the production, but it is even more impressive to see the tale come to life through the work of Neptune Theatre School’s YPCo, and a company of actors between thirteen and eighteen years old. Directed by Michelle Langille The Hobbit comes vividly and imaginatively to the stage at the Scotiabank Studio Theatre until March 8th, 2020.
This is an epic story of adventure and the quest for justice that centres of one hobbit, Bilbo Baggins (Jillian Peters), being volunteered as burglar by Gandalf the Wizard (Brooke Mitchell) to help Thorin, a displaced King (Zach Russell) reclaim treasures plundered from his ancestors by an evil dragon, Smaug (Cameron King). Thematically Tolkien’s story is clearly relevant in a country actively grappling with the grim legacy of colonialism.
Peters does a great job at portraying Bilbo’s penchant for coziness and the gentle discomfort he often experiences when he strays too far away from that which is familiar, comfortable, and nourishing. The adventure sees Bilbo taking great risks, but Peters’ grounds him in a cautious sense of both morality and curiosity, that helps him take great leaps, while still wishing he were tucked back in at home. The goblins burst on the scene with great energy and specificity of voice and movement, Jake Wilke, as their General, gives an especially strong performance. The spider (Phoebe Rex) and dragon (Cameron King) are both created with a mixture of puppets (Cassie Seaboyer/Struan Robertson) and light (Olivia Rankin) to great effect, and Rex and King really do riveting voice work helping to give life to their respective villains. Rex also gives an absolutely exceptional performance as Gollum. The way she speaks and moves captures exactly the iconic creepy weirdness of this mysterious figure: and without any help from CGI!
Director Michelle Langille makes great use of the small theatre space and gives us not only a clear sense of what is happening in the world in front of us, but also a sense of the depth and expanse of the larger world beyond our limited perspective. The fight scenes are especially well choreographed and Langille finds lots of room to allow the actors to find the silliness in what can at times seem like a more stoic piece. There is also music woven throughout the show (Shane O’Regan), which really adds a beautiful depth to the play. Rankin’s lighting design helps root the story in magic, and Kaelin MacDonald’s set and costumes are delightful.
All the YPCo performers shine in this piece, and their ability to work together as an ensemble is the play’s biggest strength. Even if this is your introduction to Tolkien, it’s a clear and earnest telling of the story that may make you want to seek out the sequels.
The Hobbit is sold out.
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