Catherine Hart
Raggedy-Anne and Mr. Piths is a new work by Ella Hope-Higginson (co-directed by Paddy Carroll), and is full of beautiful, raw and honest truths within a playful and bizarre world. It’s absurd, it’s strange, and it’s magical. It is Pinter-esque and Stoppard-ish and makes me want more.
Raggedy-Anne, played by Isabella Austin, is a strong and bright character. She can be oddly sexual, verging on misogynistic, with an almost Harley Quinn-quality. In contrast Mr. Piths, played by Barney Olson, is earthy, simple, and full of heart. The two have a relationship that develops throughout the show, but it is also a relationship that is at times tricky to understand. Personally, I found that their differences were highlighted best by their contrasting costumes, which only seem to reflect their characters to an increasing extent as the play goes on.
Austin and Olson are enigmatic on stage. Their performances reflect the absurdity of the script perfectly, while still grounding their characters in a way that the audience can understand and identify with them.
I can only describe the stage as deliberately bare, but it’s also enchanting and full of promise. The paper backdrop allows a simple frame to the action, while working symbiotically with the lights to offer mood and tone throughout the piece.
The play is filled with games, and this is definitely part of Raggedy-Anne’s territory. She plays with herself, with Mr. Piths, and with the audience, imagining worlds far away and creating scenarios to excite and amuse herself. Some of the games are competitive, but others are role-play that allow the characters a distraction from the real world. Some of it is pure escapism (a reflection of the show itself), and some of it is underlined by the true lives of the characters.
As I read the programme I realise that Raggedy-Anne and Mr. Piths is a show made through a collaboration of Wellington emerging artists. The team have definitely done well in bringing all aspects of a show together to create a unified and solid piece of art.
Raggedy-Anne and Mr. Piths is being performed until the 4th February at BATS Theatre.
To book tickets, head to:
https://bats.co.nz/whats-on/raggedy-anne-and-mr-piths/
Austin and Olson are enigmatic on stage. Their performances reflect the absurdity of the script perfectly, while still grounding their characters in a way that the audience can understand and identify with them.
I can only describe the stage as deliberately bare, but it’s also enchanting and full of promise. The paper backdrop allows a simple frame to the action, while working symbiotically with the lights to offer mood and tone throughout the piece.
The play is filled with games, and this is definitely part of Raggedy-Anne’s territory. She plays with herself, with Mr. Piths, and with the audience, imagining worlds far away and creating scenarios to excite and amuse herself. Some of the games are competitive, but others are role-play that allow the characters a distraction from the real world. Some of it is pure escapism (a reflection of the show itself), and some of it is underlined by the true lives of the characters.
As I read the programme I realise that Raggedy-Anne and Mr. Piths is a show made through a collaboration of Wellington emerging artists. The team have definitely done well in bringing all aspects of a show together to create a unified and solid piece of art.
Raggedy-Anne and Mr. Piths is being performed until the 4th February at BATS Theatre.
To book tickets, head to:
https://bats.co.nz/whats-on/raggedy-anne-and-mr-piths/