Who’s It By?
A Monster Calls is adapted from a 2011 novel written by Patrick
Ness, based on an idea by the late Siobahn Dowd. This version is
directed by Sally Cookson, famous for her theatrical interpretations of classic
stories such as Peter Pan and Jane Eyre, and the script was created by the
entire cast and crew, with Adam Peck in charge of this collaborative process.
What’s It About?
A Monster Calls is about Conor O’Malley (played by Matthew
Tennyson), a troubled 13 year old boy from Britain. His mother (played by Marianne
Oldham) is suffering from cancer and her health is deteriorating rapidly. He
struggles to get on with his strict grandmother (played by Selina Cadell), and
his father (played by Felix Hayes) now lives in America, spending most of his
time focused on his new family there. At school, the situation is no better, as
he has fallen out with his former friend Lily (played by Witney White) and
became the target of a trio of bullies led by Harry (played by John Leader). One
day, Conor is visited by a mysterious Monster (played by Stuart Goodwin) who
emerges from a giant Yew tree. The Monster promises Conor that he will provide him
with three stories that may help him to understand his problems. In return,
Conor will have to tell the monster a fourth tale about himself and his deepest
fear.
How to Experience It
A Monster Calls is currently on at London’s prestigious Old
Vic theatre, with the last performance there being on the 25th
August. Considering the acclaim this production has received, and the popularity
of the source material, it would not be surprising if it was performed at
further theatres in the future. If you are unable to see the play, then you can
always buy the script, which is available at bookshops and online.
Review
(Note: This Review
Contains some Mild Spoilers.)
Since it was first published, A Monster Calls has become a
must-read for older children trying to come to terms with difficult issues such
as grief, loss and anxiety. It has gained excellent reviews, won numerous awards,
and it was even adapted into a 2016 film which starred Lewis MacDougall, Liam Neeson,
Sigourney Weaver and Felicity Jones. Given this popularity, it was inevitable
that it would be adapted for the stage. It is almost impossible for the stage
version to avoid comparisons with the film, but both are separate adaptations
of the same story. The film was mostly faithful to the book but cut several scenes from the school
subplot and added some extra material for Conor and his mother. In contrast,
the play is almost a direct translation of the book. Director Sally Cookson and
book writer Adam Peck adopted a collaborative approach, creating a basic script
and editing it with input and ideas from all the cast members. It is clear that
everyone involved loves the story and wants to do justice to it, and they
definitely bring A Monster Calls to life in unique and high-quality fashion
The main difference between this version and the film is how
much this one uses the codes and conventions of theatre, where symbolism is key
and smaller objects can be used to represent grand images and ideas. The Monster
is formed using a set of ropes which embody the power and majesty of his tree
form and highlight his status as the symbol of nature. Projections are used
frequently throughout the production, creating a vivid contrast with the stark
white stage. For the climax, when Conor’s recurring nightmare is shown in full, a
section of the wall opens out to form a cliff. Even smaller effects, such as
the use of ropes to depict a car, are creative and interesting. Not every visual
flourish works, but the majority do, and they allow the project to gain a
unique look which enhances its themes and messages.
The most elaborate sequences in the play are the three stories which the
Monster tells Conor. These stories (about a Prince seemingly threatened by his
mysterious step-grandmother, a parson whose war with an apothecary has a tragic
conclusion, and an invisible man who lashes out at society), are powerful and
potent subversions of fairy tale certainties, and are brought to life on stage
in impressive fashion. The first is set in a medieval kingdom of dense forests,
whilst the second is set in an industrialising world where nature has been diminished
but is still visible and necessary. The first tale makes heavy use of
projections and acrobatics, whilst the second depicts key plot developments
through singing. Whilst the film depicted these stories with animation, they
are now acted out by the ensemble, with key figures from Conor’s life playing
the central roles. This makes the parallels between these tales and Conor’s plight
explicit, as the latent symbolism of the stories (The sinister but ultimately non-villainous
Queen represents Conor’s grandmother, and the unreliable parson represents his
father) is now completely obvious. This is generally a good thing, although it
is jarring to see Connor’s grandmother referred to as a “princess”. However, the
third story, which ditches this fantasy element in favour of highlighting Conor’s
isolation, is the most effective and disturbing, with the minimalist staging
revealing how desperate Conor is and demonstrating how dangerous the Monster
can be.
The heart and soul of this production is Matthew Tennyson,
who plays Conor. He is initially sullen and antisocial as he dismisses the Monster
and struggles to understand the messages of his stories, but his grief and
confusion are evident beneath his defensive exterior, and when he finally
expresses his feelings, it is devastating. This powerful performance is made
even more impressive by the staging, which highlights Conor's loneliness. For most of the production, he is alone at the centre of the minimalist
stage, and a synthesiser-heavy score accompanies him as he endures the trials
of daily life. This portrayal of Conor’s outcast status is bleak and powerful,
demonstrating that this is not a production for younger or more sensitive
audiences. Based on his performance here, it seems like Tennyson will have a
bright future in acting.
The supporting cast is utilised well, with the ten-person ensemble generally
doing a solid job bringing the secondary characters to life. Aside from Conor, the Monster is the most
significant and complex character. Stuart Goodwin is imposing and powerful,
bringing plenty of physicality to a creature who embodies the wild earth but
also highlighting the tender and supportive side of the character, particularly
at the end. Connor’s loving mother and distant father are portrayed almost the
same as they were in the book, with Marianne Oldham and Felix Hayes meeting the
requirements of the role. Given that she was almost entirely cut from the film,
it is great to see Conor’s former best friend Lily gain a more prominent role here,
and Witney White captures her feistiness and her guilt over the way she inadvertently
contributed to Conor’s status as an outcast. However, not all of the
characterisation hits the mark in this version. Conor’s grandmother is not as
three-dimensional as she was in the novel and the film, feeling more like a
stereotypically strict grandmother – the contrast between her icy exterior and
her struggle to deal with her impending loss does not feel as fully formed. The
scene where she finds out that Conor has destroyed her room is such a
devastating moment in the book and film (it is rightly used to conclude Act One
here) but Selina Cadell’s grief and fury in this scene feels a bit hammy and
unconvincing – it is the only time in the entire production where the acting misses
the mark. The head school bully, Harry, also loses a lot of his impact due to
attempts to make him into too much of a comic relief character. Harry is meant to be a
star pupil abusing his power and position to make Conor’s life a misery but giving
him grossout jokes and a lame lie about dead pet hamsters dilutes this and makes him
feel like a blustering thug rather than a budding sociopath. The fault here
lies with the writing as opposed to the acting – John Leader does a good job
conveying Harry’s menace when it matters most. The ensemble also adopt a
variety of smaller roles, as they appear in Connor’s nightmare and often sit at
the sides of the stage. Their multitasking allows them to demonstrate their
versatility and showcase their dancing and acrobatic skills. Though their roles
are not as flashy as those of Tennyson and Goodwin, they are still able to prove
their talent and enhance the production substantially.
Ultimately, for all the acting and stagecraft, this version
of A Monster Calls succeeds because it retains the devastating power of the
story and the potency of its emotional messages. The scene where Connor’s mother
reveals her condition is incurable has lost none of its power, and Connor’s
eventual acceptance of his fear and confusion will be relatable to anyone who has
tried to wrestle with difficult issues such as bereavement. A Monster Calls also
stands out due to its messages about human frailties. We are all prone to fear,
uncertainty and borderline-hypocritical self-contradiction, but we need to come
to terms with these and never be afraid to speak the truth and discuss our
problems. Like the Monster himself, these lessons are eternal and will always
be resonant and important. It is this which ensures that A Monster Calls is one
of the most important Young Adult novels of the last decade, and like the film,
the stage version is introducing a wider audience to this moving story and the
valuable truths it contains. Overall, the stage version of A Monster Calls is another excellent adaptation of this tearjerking story, and I hope that the tale of Conor O'Malley will continue to make
people cry and provide wisdom and understanding for years to come.
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