Review: AROUND THE WORLD IN 80 DAYS, Cadogan Hall

Jules Verne's 1873 adventure tale Around the World in 80 Days follows Phileas Fogg and his newly employed valet Passepartout as they attempt to circumnavigate the globe in just 80 days on a £20,000 wager - the approximate equivalent of £2 million in 2017.

Since its release the novel has been adapted to various mediums, including literature, radio, TV, film and even a theme park in Missouri. Playing at Cadogan Hall, this new version by Laura Eason puts adventure right at its core. As well as being a riotous comedy, the two-act narrative does well to raise questions on colonisation, investigating the possible toxicity of the British Empire.

Premiering at the New Vic Theatre in 2013, the show ran to critical acclaim, and a successful season at the Royal Exchange Theatre, Manchester followed in 2014. Now, Theresa Heskins' production returns with a national tour spanning 16 venues in five months. This highly imaginative show is an impressive blend of theatre, movement and circus that's a great night out for all the family.

The cast had 25 days to create the show, and with a mishmash of luggage, umbrellas, bags, fabric, boxes and furniture, designer Lis Evans gave them a lot of materials to experiment with. All involved have applied so much creativity and ingenuity to achieve the impossible.

Impossibility is the theme that drives this production, and Heskins has brought together a cast that gels; their energy together on stage is superb. One of the great things about this piece is that the actors share heritage with the countries visited throughout, and each location is presented with sensitivity and cultural awareness.

Stylised movement introduces our protagonist Phileas Fogg, played by Andrew Pollard. Choreographed by Beverley Norris Edmunds, the sequence is repeated several times to establish his world. Pollard's Fogg is a calm gentleman who holds himself with pride; his straight back and brisk walk exude power. We feel at ease watching him, and happily follow the character's journey throughout the play.

His valet Passepartout is played by Michael Hugo, whose presence is equally compelling. The moments of interaction with the audience are never too obtrusive, and Hugo works hard to develop their trust, so much so that the children are desperate for his attention.

His start of Act Two entertainment is a highlight - sporting a ukulele, he serenades the audience with a song created on the spot. At times pantomimic, he is quick with his improvisation and is a natural entertainer. His character provides slapstick comedy, and it's clear that Hugo has inspiration from silent film.

The cast are physically capable and each has their own moment to demonstrate it. Acrobats flip across the stage, batons are twirled, and four fights break out. Each moment has been directed so effectively that it evokes a real sense of violence and danger without ever seeing a single hand touch the other person.

There is a lot going on, but it never seems overwhelming. Each moment is layered meticulously to create a piece that does everything it can to showcase the cast's various talents. A projection of the globe keeps us on track as to where we are in the world. Together with innovative puppetry, illusion and slick action, it's enjoyably intense, while also cheeky and charming. The rest of the country is in for a real treat.

Around the World in 80 Days at Cadogan Hall until 2 September

Photo Credit: Andrew Billington

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