Blue Beard - Theatre At Its Best

With her most recent production, Blue Beard, a Charles Perrault-penned French folk tale from 1697, Emma Rice has infused it with her unique brand of theatrical wonder. Haunted by the "regular and painful chime of murdered women in the news" (just this week, Lady Elish Angiolini and her team’s inquiry into the murder of Sarah Everard has been in the news. In her family’s poignant statement, they said, “We cannot get Sarah back, but positive changes give hope for the future and will be of benefit to other") Emma saw hidden hope in the gruesome tale of Blue Beard and has adapted and directed this most beguiling and disturbing of tales; the production emphasised the positive changes that at last are happening to protect women against violent men, Emma’s own “defiant and hopeful answer.” 

With her signature sleight of hand, Blue Beard explored curiosity and consent, violence and vengeance—all through the intoxicating lens of music, wit, and tender truth.

Music is always integral to Emma’s productions, and she had obviously worked closely with composer Stu Barker; we were taken on a roller coaster of emotions as the cast played instruments such as the harp, violin, guitar, piano, and cello masterfully, with their superb singing and strong harmonies sending shivers up the spine (and that was before Lucky, Blue Beard’s new bride, opened the Bloody Door).

Tristan Sturrock was the smooth, seductive Blue Beard, whom we all loved to hate. As Blue Beard the Magician, he made hearts flutter and pupils dilate, and he commanded the space with his smouldering sexuality as he beguiled Lucky, played with passion and panache by Robyn Sinclair. You wanted to cheer at his dastardly demise when the girls joined forces for good and justice was finally done.

Patrycja Kujawska sparkled like a gem in her role as Treasure, Lucky’s mother, and Stephanie Hockley came into her own playing and singing I’m Trouble at the piano, never Trouble Trouble, as Blue Beard discovered to his cost; Stephanie shone in her role and lit up the stage with her energetic portrayal of Lucky’s loyal sister, Trouble.

Blue-bearded Katy Owen (Mother Superior) might have been small in stature, but she also commanded the space whenever she appeared on stage; her narration of events worked brilliantly to keep up the pace of the play. She was like a mini-whirlwind and was such a strong character, a real force to be reckoned with. Adam Mirsky, as Lost Brother, discovered this, slowly but surely forming an alliance with this formidable female. His was a more understated part, but he played it to perfection, as well as demonstrating his guitar playing skills. Mirabelle Gremaud gave an outstanding performance as Lost Sister, the missing sister of Lost Brother; one minute of power singing and playing bass as a rock chick, the next serenely serenading us with mesmerising harp playing. Then, as if that wasn’t enough, he demonstrated amazing acrobatic moves as Blue Beard the Magician’s assistant.

Her character, Lost Sister, drew the story into the present day one: the projection video of her innocently walking back after a gig, suddenly stalked by a sinister stranger sent shivers down your spine again, and a feeling of helplessness and anger. 

A play of two halves, the first full of larger-than-life performances and music numbers (the  movement and choreography by Etta Murfitt were superb), was followed by a very dark second half, which, without being at all contrived, ended movingly in hope for humanity. Quality theatre at its best.

Blue Beard is on at York Theatre Royal until March 9 2024