reviewer: Ciaran ward
Manchester’s Royal Exchange receives the world premiere of Little Sister, a ninety-minute adaptation of the Brothers Grimm fairy tale, The Six Swans. Created in collaboration with The Company, Little Sister has finally brought to life Lead Artist Mark Storer’s wish to develop such an intricate and profound piece of theatre, following a lengthy eighteen-year absence to do so. As such, no aspect of the play faltered throughout its course, making Little Sister’s quest to help return her brothers to their true human form an enchanting display of love and affection, one that entertained the audience from the very inception to the final curtain.
Despite occasional cries from characters and sporadic sound effects (contributed by Ben Almond, Dave Norton and Sorcha Williams), the prevalence of silence throughout heightened the courage and determination Little Sister offered, given the sacrifice she made to not make a sound for seven years so as to break her brothers’ curse. As a result, there was a dependence on the motion of the different characters to tell the story, one which, although an unconventional approach, made for an enjoyable and quirky experience.
One notable element of the performance was the inclusion of acrobatics in it. A rope that spanned the height of the theatre and was attached to the ceiling was artistically utilised by the skilled performer and aerialist, Alice Ellerby, providing an awe-inspiring and majestic display that was especially appropriate considering the fact the 2016 Olympic Games are due to commence. The graceful movements also proved the play to be visually profuse and thus a stunning spectacle to watch.
In particular, the rich architectural designs of the Royal Exchange Theatre meant that it was the most suitable venue in Manchester to house the play. The round theatre allowed for the entire audience, regardless of which seat they were in, to see what was happening on stage – extremely convenient as a multitude of actions, performed by different characters, were occurring in conjunction with each other for the majority of the show. In turn, this literally kept you on the edge of your seat as you attempted to spot everything going on in all corners of the stage.
A play with scarcely any lines may be perceived as boring to some, but this definitely wasn’t the case with the Little Sister. Through its accomplished choreography, aptly used props and effective use of silence, this greater emphasis on stage direction resulted in a play that entirely warranted two separate bouts of applause at the end.