Imagine that time is like a fan and it could be folded up so that the past and present could be brought together when the open fan is closed. That is the stylistic and didactic theme of The First Time Machine. Well, it is no odder than a police box twirling its way through the vortex of time.
Wind back the clock (or close up that fan) to last year and the try out performances of The First Time Machine from Run Ragged Productions attracted highly favourable reaction from audiences and reviewers with its humorous and fresh approach to integrating dance and performance in a family-friendly narrative.
Fast forward (or open up the fan) to the current tour of the story of the quest to travel back in time to find Enrique Gaspar, the great, great grandfather to Jem and Aidan Treays and get him to sign their copy of his novel, El Anacronopete, The Time Machine, and we have a polished work that retains a feel of informality and improvisation that gave the first incarnation such charm.
Accomplished performer and, not incidentally father of two, Jem Treays chats to audience members as they arrive, apologises for the late running of the second performer practicing movements and introducing his technical and musical team, Greg Hall and John Collingswood.
Iain Payne, playing Jem’s brother Aiden in this tour, arrives late and immediately a cheeky, friendly sibling rivalry is revealed between the laid back dude Aiden and the older, more controlling Jem, through verbal banter, physical characterisation and choreographic gesture and movement. Setting the scene in the form of a daft rap sets a fun town for the show.
The dance element has been greatly refined and the two men work together in an engaging, stimulating and at times witty movement as they both travel backwards to discover their shared past and their own relationship as brothers.
The use of an opening oriental fan style backdrop onto which images down the receding years are projected works splendidly as does the use of props from jackets and a walking stick, military costumes and survival wear as they tell episodes of their own, their father, grandfather and ultimately great grandfather’s lives. We don’t learn much about the women in the family apart from the grandmother who is the central figure of an oriental section hen the family lived in Singapore.
Saz Moir’s set, with hanging lights, the fan backdrop, and array for props, gibe the show the feel of an impromptu performance, or an experiment being played out in the elder brother’s home with his pals providing the sound and electronic accompaniment.
There are two wonderfully imaginatively and elements to the show, both towards the finale, which are worth NOT revealing but involve the next generation, Jem Treays’ daughter, Ella, and the appearance of the novel’s author.
That fan idea is also employed to give a quirky view that fi time was like a fan it could be folded up and the past and present brought together when the fan is closed.
Interestingly, at the end Jem talks is through what has happened in the performance, which was unnecessary now that the show is a much clearer narrative than its first time round. However, this may well be a useful device for younger audience members although the performance is certainly appealing and enjoyable for us older kids as well.
Did you see the performance?
What did you think?