Adapted by Oliver Gray
Directed by Jennifer Fletcher
Review by Hunter King
As a reviewer there is often some time, especially on the walk home where you consider different star ratings for the show you’ve seen. There are lots of elements to weigh out and decide on what the review is going to focus on. Sometimes however, you see a performance that you know exactly what to say and what rating to give. Five stars isn’t an easy feat by any means, but Illyria Theatre were able to approach it with ease in their adaptation of Alexandre Dumas’ classic The Three Musketeers.
When thinking of venues in Edinburgh to host a performance, the Edinburgh Castle certainly isn’t the first most would think of, but couldn’t be a better fit for Illyria’s outdoor production. The stage itself was simple, and set up deep within the walls of the castle, up some stairs in a courtyard next to the clock tower and tea room. The seating was simple plastic chairs and benches provided by the castle, and the set was a (seemingly) easy to assemble two tiered platform with a large fleur de lis that, while simple, created multiple entrance and exit portals and contributed perfectly as a discreet piece for the actors to do the heavy lifting on.
On that note, the entire show had technical elements that were simplistic: the lights were pretty much unseen, only used to even out the levels on stage as the sun started to set behind the castle; the sound was two simple speakers that operated with perfect leveling, never detracting from the story or overpowering the un-mic’ed actors. Costumes had some flair and were clearly well thought out, mostly designed with hook and loop material so that the actors had time to piece together masterful quick changes as they went on a whirlwind of characters, requiring constant changes. Pat Farmer and Mary Ann Bloomfield also were smart enough to realize that Dumas’ plot is convoluted enough that some characters may be confusing in understanding their alliances, by having costumes that were colour coded the audience was able to track each character and their alliance easily, making the story accessible for the audience, both adults and children alike.
Jennifer Fletcher’s direction was clear and left no gaps in the story, no moments of low energy, no lulls whatsoever. Fletcher, along with the cast, knew not to take the story too seriously, and that the balance to strike was one that prioritized the art of storytelling itself over the fidelity to Dumas’ story. The staging was an impeccable mix of slapstick, swordplay, caricature, drama, and heartwarming moments that all complemented each other, running consistently like a well oiled machine and never faltering.
Undoubtedly, the strongest aspect of the show overall was the individual performances delivered by the scrappy cast of six. All six performers took on several roles, all in ways that were fresh and exciting. Alex Layfield had the fewest number of roles, but that is of course because he spent most of his time on stage as the show’s protagonist, D’Artagnan. Layfield has a natural storytelling capability, often entrancing the audience through his narration of the story. His high energy keeps the pace of the story constant. He flicks through swordfights with ease and flourishes with acrobatics that make the audience simultaneously gasp and grin. Layfield acts as the battery of the show, bringing the energy, but never running empty.
Lydia Waller brings a dark energy to the stage, playing multiple characters, with the most memorable being Milady de Winter. She brings a bitterness to the character that almost makes you root for her in some moments, only to realize, just like the Puritan guarding her, she’s played with your feelings. She pulls off impressive moments, especially a four on one swordfight sequence that manages to feel realistic and genuinely think she has a shot at winning.
Sarah Coyne has a natural humour that she brings to each of her characters. From Kitty who is only on stage for a few minutes, to Monsieur de Tréville who with an oversized mustastache, Coyne gave full commitment to all of her characters. She also had what was perhaps the funniest moment of the night as D’Artagnan’s ill fated horse with a scene that stops the show in its tracks but never felt unearned.
Stuart Tavendale, Karol Stanisz, and Christopher Laishley round out the cast as the three musketeers themselves, playing Aramis, Porthos, and Athos respectively. Tavendale brings a flouncy charisma to the stage, playing characters that are all larger than life. While his Aramis was quite strong overall, his standout role was of King Louis XIII, which he played with verve and an over the top bounciness that almost made him feel pantoesque, but never crossed the line of leaving the farcical drama that Illyria’s production was living in.
Stanisz’ lovable energy as Porthos was only matched by his mystery and broody nature as Lord de Winter. His deep bravado of a voice lent itself naturally to both characters, each of whom has a level of darkness behind them, despite Porthos’ being behind a warm and fuzzy exterior.
While all of the performers did a bang up job in their roles, Christopher Laishley easily stole the show, primarily as Athos, but also in his other roles. Laishley has a control over his performance that most actors could only wish to have a mastery of, having each and every vocal pattern, physical move, and facial expression so perfectly balanced, it was almost difficult to believe he was performing it in real time. With that said, he also brought an empathy to his characters that resonated through the audience, especially as Athos when he addressed the mystery behind his past. Conversely, his Cardinal Richelieu was full of a ritzy nastiness that perfectly embodied the infamous villain.
It is rare to find a gem of a show with this much synchronicity, and this much understanding that all characters and all actors need to put 100% into each moment of the show. As the old saying goes, “ a chain is only as strong as its weakest link,” well congratulations are in order as Illyria has no weak links to worry about, and a chain that will surely hold the weight of anyone’s judgement of the show. The elements were all perfectly pieced together, from the costumes to the swordplay (which very well may be the most impressive I’ve ever seen,) the show is a hit in every sense of the word. I can only hope that Illyria will return to Edinburgh very soon, and wish them lots of luck on the rest of their tour. You genuinely won’t want to miss out on this show as it is utterly “one for all.”
A Hit in Every Sense of the Word
The Three Musketeers ran at The Edinburgh Castle until June 20th, with one performance on August 27th
Running time – Two hours and fifteen minutes with one whinterval
Review by Hunter King (contact@corrblimey.uk)
Hunter is a 2024 Master’s graduate of the University of Edinburgh and current doctoral candidate with a thesis focused on experimental theatre in Edinburgh. He has been a theatre practitioner for over a decade having worked in many capacities including as a director, actor, stage manager, front of house manager, and technician as well as others. Prior to moving to Edinburgh, Hunter was a high school English teacher in the United States. His passion for the written word as well as his passion for live performance are what motivated him to become a writer for this publication.
