Lilly Through The Dark

Lilly Through the Dark's defining characteristics could have hampered its success. A "grown-up fairytale", I feared childlike innocence would lose out to cynical and knowing transgressions of sanitised childishness. The puppetry too could be a gimmick disguising flawed aspects of the play. With these thoughts in mind, it would be impossible to be sucked into the world of the play.

Yet, a characterful mandolin score played by playwright Edward Wren offstage helps to do so. The four live-action players at the start are rambunctious if unidimensional at first, but as the narrative progresses, they develop and show off more emotional and physical depth throughout.

The sparse stage allows the uneasy space between life and death to be portrayed successfully. The lonely book-strewn corner room Lilly escapes from to search for her father repeats itself throughout as stacks of books are used as steps and bridges in the underworld.

The play is defined by relationships between comedy and tragedy and also life and death. Some of the gallows humour used to illuminate the dark story seem too laboured and cliched, but the "Tweedledum and Tweedledee"-style hangmen are able to provide enough audience-pleasing comic relief during a rather desperate narrative development.

Finally, I have to mention the chemistry between Claire Harvey (Alice) and her puppet creation, Lilly. Even though it is strange to discuss chemistry between an actor and a puppet, it was present here as Harvey divested the staid, sad-eyed Lilly with enough emotion and childlike naivety without relying on shrill histronics or childish parody.