Fans of horror are in for a spine-tingling treat with the latest touring production from Tilted Wig Productions. 'The Legend of Sleepy Hollow' delivers thrills and chills right from the start as we hear the tragic tale of Ichabod Crane, who happens upon the tiny village of Sleepy Hollow with intentions to become the local schoolteacher. However, not everything is at it seems with the residents of the village, and Ichabod soon finds himself entangled in the terrifying legend of the Headless Horseman.
Heading up (ahem) the cast is Coronation Street favourite and theatre legend Wendi Peters who delivers a cracking performance as cranky widow Marriette Papenfuss. This is a newly-created role especially for this production and Peters is captivating every time she appears on stage – whether she is scowling forebodingly from a window, lurking in a doorway, or hobbling around the stage delivering withering one-liners. Peters completely, and impressively, changes her physicality to create this curmudgeonly old character. There is also a moment where Peters’s character disappears down a chute which is hilariously iconic. It was a wise move by writer Philip Meeks to add this character into his adaptation of Washington Irving’s genre-defining short story. Marriette not only heaps on the sinister overshadowing, but also gives several moments of light relief thanks to Peters’s expert comic timing. The character also acts as a confidante to protagonist Ichabod, the only person who is welcoming (albeit delivered in a cantankerous manner!) to him upon his arrival. It is clear Mariette is unable to leave Sleepy Hollow from her first appearance and the circumstances behind this prove to be suitably supernatural.
Sam Jackson is brilliant as Ichabod. He embodies the role of the gothic, romantic hero – not just with his floppy hair, dark eyes and sharp cheekbones – but in Ichabod’s hopeful, strong-willed nature, which of course hits harder when we hear his tragic backstory. It is refreshing to have Ichabod portrayed as a sexually fluid character, which is another departure from the original tale, but it totally works with Ichabod’s Byronic charm. The tension between Ichabod and Brom is electric at the start of the play, and the chemistry between both actors was palpable during the opening moments. For most of the first act, there is a lot of subtle hinting at where their relationship is going, and at several points the audience are left wondering if they are seeing simple detestation rather than any romantic interests. However, a very steamy dream sequence at the opening of Act 2, involving Brom, Ichabod and Katrina, confirms our speculation. Jackson brings likeable confidence, hubris, and conviction to the role of Ichabod, and it is the character’s unwillingness to believe the legend which is ultimately his downfall.
Bill Ward (another Coronation Street legend), brings his signature sneer to the role of Baltus Van Tassel, who ‘doesn’t like curiosity’. Ward also brings a peppering of a wit to this sinister character and his no-nonsense interactions with the ever-curious Ichabod are interesting to watch. Most of the cast members take on smaller secondary rolls, and Ward got many laughs from the audience when he appeared as a doddery, ageing female villager.
Rose Quentin plays Katrina, sharing the role of Ichabod’s love interest with Lewis Cope’s Bron. Quentin makes Katrina feel like a very modern character with her jovial, teasing attitude towards Ichabod. Lewis Cope is brilliant as the tormented yet naïve Bron. Jon-Paul Rowden rounds off the cast as Joost De Groot, doubling up as the Headless Horseman himself, Roricus Maze, in a re-enactment sequence. Rowden adds plenty of humour to the production, particularly in his depiction of how the Headless Horseman lost his head, which is equal parts horrifying and comic.
There’s a very clever use of the play-within-a-play device, reminiscent, in several instances, of the mechanicals in Shakespeare’s 'A Midsummer Night’s Dream', as the villagers re-enact several local legends as part of their festivities. This is done with some strong humour, which never becomes too farcical, as some characters perform with more gusto than others. Through this the audience are also treated to more legends, within a legend, as Meeks brings other fables and mythical creatures into his play. He adds further fantasy to the narrative as several villagers are revealed to have mystical backstories, which are revealed as Ichabod investigates further.
From severed heads to disappearing parrots and reappearing demons, there are plenty of impressive special effects to really add a kick to the story. There is an eerie atmosphere right from the beginning, and at several moments I found myself clenching my hands in anticipation that the Headless Horseman was about to appear to lop off someone’s head. The creepiest moment has to be when poor Ichabod is visited by the ghost of a recently deceased child. There are lashings of creepy voice-overs in the production, often nursery rhymes sang in ghostly fashion by children, and in this case the spirit’s voice is accompanied by a headless doll and creaking rocking chair, which makes for tense viewing.
Although it is set in 1800s, Tilted Wig manages to bring the story to modern times, giving it a very accessible feel. The short bursts of scenes early in the performance certainly help to immerse us fully into the story and the world of Sleepy Hollow. There are a couple of moments during the ‘re-enactments’ of past fables and legends, where cast members are playing characters playing characters, where things become a bit muddled and confusing, but if you refrain from over-thinking the intricate narratives woven into the village's history, it doesn’t prevent the production from being entertaining. A story as old and disconnected from modern audiences as this could have easily been quite dry and stuffy, but with the cast’s vibrant performances, the sparkling adaptation of the writing and the surprising special effects, this production is anything but dull.
'The Legend of Sleepy Hollow' is a well-imagined, atmospheric piece that, unexpectedly, is bursting with wit and humour. It does not take itself too seriously, which makes the eventual galloping footsteps of the Headless Horseman’s steed even more spine-tingling. Reviewer - Gavin Hayes on - 8.3.22
I saw the play and am a professional director and actor and found it totally lacking in so many ways, disjointed story telling, lack of atmosphere and more comical than chilling. Members of the audience were complaining as the worst thing they have seen on stage. I know reviews are subjective but you certainly did not pick up the vibe or responses of the audience.in many other reviews this play got 1 star and some commented they would have put zero if they could. The director not actors is to blame for this confusing piece of theatre
ReplyDeleteSeen this on 12th March. Totally agree with points above. About 1/3rd of the audience did not return after the first half of the show. I would not recommend.
ReplyDeleteI can only agree with the above two comments. It is astonish to wonder at how the reviewer could come to the conclusion that the play is 'bursting with wit and humour'!! It never even purported to be either. I saw this same production last year at Oldham Coliseum and witnessed the lack-luste response from the audience first hand. It is beyond to crediblility to imagine that in the intervening months, the show has somehow transformed itself into an engaging and powerful piece of theatre.
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