BWW Reviews: Berkeley Rep's THE WILD BRIDE is Bold and Transformative - Now thru Jan 1

All the way from across the pond, from Cornwall's Kneehigh Theatre to be exact, comes a dark fairy tale brilliantly told, stunningly performed and miraculously conjured up here on the stage of Berkeley Repertory's Roda Theatre.  The American premiere of The Wild Bride, playing now through January 1^st, is tragically, magically hellish and heavenly all at the same time… and it will disarm you.

Sometimes all the elements of theatrical storytelling brilliantly coalesce; the disparate parts thread together and fuse to form a fey and bewitching performance that becomes a fearless, transformative and satisfying experience. That's what happens with The Wild Bride. Director Emma Rice plumbed the pages of the Brothers' Grimm and, together with her team (especially Carl Grose on Text and Lyrics), mapped and molded the story of 'The Girl Without Hands' into a luminescent theatrical event of stunning proportions.

Speakeasy blues riffs tether the tale to the South (where the Devil seems to always find a haven) but Cornwall country accents and Scottish brogues blur the lines, making this story everywhere and nowhere but always at the crossroads of life.  Stu Barker's music beats heart and rhythm into the tale, the minor key and guitar twang swaying the Grose's lyrics forward.  "Down at the crossroads, the devil said 'now you pay me…'" and so the story goes.

Greed and ungodly gain are behind a deal that is struck between two men, one of whom turns out to be the Devil in disguise and the other who is the father of a young and innocent girl.  (Why is it that women always lose when lust and greed win?)  Stuart McLoughlin is the Devil incarnate - seductive, evil and even playful at times.  His lithe frame hovers over the story and the stage as he narrates the nightmare about to ensue.

Stuart Goodwin delivers as the moonshine-making father, striking just the right note of humor, pathos and weak-willed immaturity. (We'll see him later as the prancing prince who will be changed by war and pain into the grieving king.)  In selling his soul to the Devil the father loses his precious daughter and she loses the only home she's ever known.  Delighted, the Devil makes his move but the girl's purity saves her from his groping grasp.  Undaunted, he bides his time, sure that life itself will bend her and break her enough for him to eventually claim his prize.

Audrey Brisson plays the daughter with such winsome wholesomeness and unassuming grace that we are won over instantly.  Her embodiment of the character is enchanting. Crowned with a halo of fresh flowers she is struck by tragedy and transformed by the trauma of having her hands cut off. In her place "the Wild" emerges, who is now the young woman (Patrycja Kujawska) with a crown oF Brown leaves and branches that must find her way in the darkness of the forest.  And, even though she won't take center stage until the end, Éva Magyar (the Woman) is always on stage with the other two.

Together the three women represent the stages of a woman's life and each is there to help through all the transitions.  In fact they all wear aprons at certain points, doing the work that must always be done in order for transformation to occur.

Etta Murfitt's imaginative choreography is joyful, exuberant and quirky, giving the play a signature look and feel that is spot on perfect.  Toe pointe and wrap around body moves are a wholly unexpected delight.  The devil dances and plays the daughter like a bass, a drum and guitar.  The Wild has sex and does yoga with the prince and the Woman births herself into being, growing new hands and, in the process, gaining enough strength and confidence to finally send the devil packing for good.

Scenic designer Bill Mitchell's sparse, inspired set brings the scenes to life while Sarah Wright's enchanting puppets add whimsy, highlighting the fairy tale quality of the show. Lighting and sound design and effects (Malcolm Rippeth and Simon Baker respectively) add magic and nuance to the show.  Ian Ross is the masterful musician on stage throughout, bringing to mind the minstrels of old, who strummed and sang their stories to all who gathered 'round to hear.

In the end the Wild Bride "learned to find light in the darkness," as does the audience lucky enough to participate in the process of making theater come alive.  Those Cornwall people from across the pond sure know how to do theater right.  They bring a story that sublimely sings of fearless transformation in the face of evil – and they have a devil of a good time while they're at it.  Gather 'round to hear the tale now through January 1st.

The Wild Bride

A musical fairy tale of transformation presented by the Kneehigh Theatre Company

Adapted and directed by Emma Rice.

Text and lyrics by Carl Grose

Music by Stu Barker

Now through Jan. 1, 2012

At Berkeley Repertory Theatre,  www.berkeleyrep.org.

Photo courtesy of kevinberne.com

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