A humorous reimagination of Defoe's classic novel, skilfully written to still capture his essential questioning of moral responsibilitySummary
Rating
Good
The Cambridge dictionary defines a parody as “writing, music, art, speech, etc. that intentionally copies the style of someone famous or copies a particular situation, making the features or qualities of the original more noticeable in a way that is humorous.” Most individuals have either heard of, or read The Count of Monte Cristo by Alexander Dumas, but the theatrical team at Rather Nifty have reimagined the novel in just the form described above.
The story itself has multiple characters, but here only three actors (Oliver Malam, Tom Telford and Evie James) take on the numerous roles, with each playing at least five different people. To take on multiple figures can be a daunting task for anyone, but this great range surely cannot be a task for the faint of heart. Yet throughout the entire production Malam, Telford and James manage seemingly effortlessly. Not only do they act out each character, but they cause a tale that was originally written as a serious narrative to be filled with utter hilarity and laughter.
Such a parody could not have been possible without writers Malam and Adam Elliott who have managed to take a novel of around 1,200 pages and condense it with skill. The Count of Monte Cristo was published between 1844 and 1846 and uses contemporary terminology which is not used in everyday conversation anymore. Yet, Malam and Elliott have not only taken the formal language used in the book and converted it to modern speech, but have made it funny. For instance, Mercedes (James) is the daughter of a fisherman, and is depicted as being fascinated with fish. There are some scenes which are not true to the original (for instance in the parody, Abbé Faria does not die in the same manner as in the novel), but such sequences can be forgiven in the midst of the humour of the production.
The stage appears small and simple at first, but this is quickly overlooked as the story progresses. Props such as a desk and a dark mound in the background, are used throughout the show for a variety of purposes, from a giant cliff, to the back of a dark alleyway, a desk for the guard and the office of Villefort (also played by James). Our actors have also clearly mastered the ability to achieve quick changes from character to character by hiding behind the props.
Effective lighting and sound also give life to certain scenes, such as when Edmond Dantes (Malam) is swimming away. Aside from the actor’s brilliant ‘swimming’, the sound and oceanic lighting make it very clear that he is underwater and provide just as much to the overall effect of the production as the rest of the team.
The intention of the show is to achieve a parody of a serious story, which it does with precision, particularly with regard to themes of revenge and vengeance. Dantes can think of nothing but seeking justice from those who have wronged him, but as his revenge is taken out, a question of morality arises and whether going to such lengths to seek retribution is worth it in the end.
Be it a parody or the original book, The Count of Monte Cristo offers a story which forces us to examine our actions, particularly when we are angry, and it begs the question, are these actions worthwhile? Or are they going to cause more harm than good. For anyone who has ever questioned this within themselves, or indeed for those just looking for a bit of fun and humour in a serious world, this show is highly recommended.
Written by: Adam Elliott and Oliver Malam
Directed by: Adam Elliott
The Count of Monte Cristo plays at Theatre at the Tabard until Saturday 22 February.
