Theatre review: The Three Musketeers and the Princess of Spain

Published on Wednesday 8 December 2010 12:15

The Three Musketeers and the Princess of Spain Traverse Theatre *****

A brilliantly insane reworking of a classic tale – or an inane and lavatorial attempt to be different for its own sake – the seasonal offering from the Traverse Theatre is destined to divide audiences into five-star and one-star opinions.

Which ever side of the star-divide you fall, however, there is no arguing that it is rare to see such a powerful piece of theatre at this time of year.

The Traverse's artistic director, Dominic Hill, has taken Chris Hannan's gothic fairytale-like version of the Alexandre Dumas' story and, with no little help from designer Colin Richmond, turned it into one of the most ferocious and political pieces of Christmas "family entertainment" seen in Edinburgh for many years – if ever.

The tale twists around young sweethearts, D'Artagnan (Oliver Gomm) and Constance (Cynthia Erivo), who divide their time equally between fighting and kissing each other in impoverished 17th century France.

When Constance is sold as foot-washer to the all powerful Cardinal (Clive Mendus), she tricks D'Artagnan into crossing the magic Lost River so he will lose his emotions and not feel the pain of their parting.

Maddened by the loss of his inner-being, D'Artagnan takes to the woods, befriends a pregnant Spanish Princess, helps her on her way to the King of France in Paris, defeats monsters and ends up saving the country.

So much, so swashbuckling. But wherever this goes, the grinding poverty and inequality of the times is evident with a realism that is only dampened by the laughs it gets from the most disgusting of places. Skeletons decorate the set and the monster eats babies who cry while

the Musketeers are degenerates – Athos a drunk, Aramis a womaniser and Peter Forbes' brilliant Porthos a self-deluding glutton who believes his girth is pregnancy.

If such macabre stuff is not for you, steer well clear.

For the rest, the power of the central pairing triumphs in a story of love and redemption. The conventions of pantomime are well-used – but it is the clear and timely message which clinches this as kill-for-a-ticket material.

Run ends December 24