Did writer Chris Hannan, or director Dominic Hill, notice that Dumas – the original source of their material – is an anagram of “us mad”? Probably not, being far too busy concocting a production that is inspired bedlam on the surface but with profound reflections on identity, loyalty, integrity and all-conquering love, seething away underneath in preparation for an epic, gung-ho denouement. Albeit only after a fantastical plot, embroidered with surreal and graphic encounters of Grimm-Hogarthian-Tim Burton persuasion.
Be warned, however. This fabulous melée of live music, scary puppet monsters, full-on vulgarity and all manner of bodily functions will not appeal to everyone – and it is not a chirpy singalong fairy-tale for younger children either. But this joint venture by the Traverse, English Touring Theatre and Coventry’s Belgrade Theatre creates a visceral, witty, risk-taking adventure in search of moral values that is compellingly well- acted and inventively staged.
Corruption, in the guise of the urbanely deranged Cardinal (Clive Mendus), is gnawing the heart, soul and wealth out of a dingy France that, scenically, looks rotten and smelly. The Musketeers have gone underground, and to seed. Porthos is gluttonous, Scottish and prancingly camp. Athos has taken to drink. Aramis is an inveterate womaniser who can’t accept he’s ageing. Who is there to help the pregnant – don’t ask – Princess of Spain elude the Cardinal and marry the King?
Enter D’Artagnan, a hollow man with no emotions, no memories – another magical twist – who only lives to fight. And what fights there are! Real whing-ding duels, as D’Artagnan, snogged on by his long-lost childhood sweetheart Constance, rediscovers himself, re-animates the Musketeers, trounces the baddies and saves the day. Maybe not one for all the family, but one that will appeal to those longing for some non-PC humour and anarchy.
