REVIEW: Feet of Clay (Strawmoddie)
Feet of Clay – ★★★ – Charming
Strawmoddie: 5 – 8 JuneReview by Rebecca Mahar
Strawmoddie are back at the Cymera Festival with another adaptation from Terry Pratchett’s Discworld series, bringing Feet of Clay to life in charming fashion.
The nineteenth Discworld novel, and third centring on the City Watch, this adaptation of Feet of Clay naturally picks up in media res in terms of characters, setting, and general given circumstances. Nevertheless, the characters are archetypical enough and say enough about themselves and each other that you don’t need to be a devotee of the Disc to follow along easily enough.
L-R: Georgie Dickie (Sergeant Detritus), Alice Pelan (Corporal Angua), Chris Allan (Samuel Vimes), Rebecca Amos (Corporal Nobby), Amber Libman (Cheery Littlebottom), Alex Card (Captain Carrot), Hilary Davies (Sergeant Colon). Pic: Robin Mair.
Commander Sir Samuel Vimes, leader of the Watch, is seeking a coat of arms for himself, with little success; the rather woebegone dwarf Cheery Littlebottom arrives to join the Watch (perking up immensely at the mention of dead bodies); a series of murders and unexpected deaths strike the city of Ankh-Morpork, and its Patrician, Lord Vetinari, has fallen mysteriously ill. Naturally, it’s up to the Watch to investigate these happenings— while also navigating their interpersonal challenges.
Adapted by Stephen Briggs, the play struggles a bit with trying to do too much —there are further subplots not listed above—, leading to a lack of detail overall, and a narrative choppiness. This is exacerbated by certain staging choices from director Jonathan Whiteside, including scores of closings and openings of the main curtain to transition from one scene to another, adding a physical and visual layer to the extant choppiness of the piece, despite the swiftness of the curtain pulls and well-drilled scene changes.
While the script has its weaknesses, the company of Feet of Clay inhabit its world with enthusiasm and commitment, some in roles they have played in previous Strawmoddie productions of Pratchett.
Adapted by Stephen Briggs, the play struggles a bit with trying to do too much —there are further subplots not listed above—, leading to a lack of detail overall, and a narrative choppiness. This is exacerbated by certain staging choices from director Jonathan Whiteside, including scores of closings and openings of the main curtain to transition from one scene to another, adding a physical and visual layer to the extant choppiness of the piece, despite the swiftness of the curtain pulls and well-drilled scene changes.
While the script has its weaknesses, the company of Feet of Clay inhabit its world with enthusiasm and commitment, some in roles they have played in previous Strawmoddie productions of Pratchett.
Matthew Jebb as Dragon King of Arms, Chris Allan as Samuel Vimes, Chris Pearson as Pardessus. Pic: Robin Mair.
Chris Allan is a rough-and-ready Vimes, simultaneously having seen it all and continually being surprised at the antics of his watchmen. As his second-in-command, Captain Carrot, Alex Card lopes through the show with golden retriever energy, interspersed with flashes of seriousness that do credit to the depth of both the character and Card’s performance.
Corporal Nobby, a former street urchin, is swept up in a subplot about his inheritance of an earldom, and is played with fantastic obtuseness and confusion by Rebecca Amos. Sergeant Colon (Hilary Davies) and Sergeant Detritus (Gregor Dickie) complete the comedy trio of the Watch, both with interesting and specific character choices, though it is occasionally difficult to understand the latter.
Amber Lipman as Cheery Littlebottom and Alice Pelan as Corporal Angus. Pic: Robin Mair.
Standout performances come from Amber Lipman as Cheery Littlebottom and Alice Pelan as Corporal Angua, individually and as a duo. These characters are some of the most well written, and Lipman and Pelan seize that opportunity with both hands, creating larger than life characters that are still grounded, specific, and empathetic. Their scenes together are some of the best in the show, illustrating subplots and a developing relationship that don’t get in the way of the overall narrative— they are the most human (or dwarf, or werewolf) of Ankh-Morpork’s denizens in Feet of Clay.
Special mention too goes to Ben Blow as the horse vet-cum-doctor Doughnut Jimmy, called upon to examine and treat Lord Vetinari, who seems quite happy at this change in career, if unwilling to adapt his methods. Vetinari, played by director Whiteside, as also a delight to watch— laconic, drawling, and with excellent physical comedy.
Frank Shelly as Drumknott, Jonathan Whiteside as Lord Vetinari, Ben Blow as Jimmy Doughnut, Chris Allan as Samuel Vimes, Amber Lipman as Cheery Littlebottom. Pic: Robin Mair.
The "clay” in Feet of Clay comes from the city’s golems, creatures made of clay and enchanted to become animated and do their owners’ bidding. They are tied up in the mysterious goings on of the central plot, and appear onstage in the form of giant puppets. The golems Dorfl (James Cruickshank) and King Golem (Blair Flucker) are aesthetically interesting, but technically lacking.
In addition to merely having bicycle reflectors for eyes when they eyes are described in dialogue as being “glowing red”, although they have articulated knees, there’s no mechanism in place for the puppeteers to control their golems’ legs. Unfortunately, this results in them either floating or dragging, and generally being dead below the waist. This is a shame, as Cruickshank and Flucker otherwise do well at bringing the creatures to life, and this lack of leg manipulation detracts from their performances.
Alice Pelan as Corporal Angua, Alex Card as Captain Carrot, Amber Lipman as Cheery Littlebottom, James Cruickshank as Dorfl, Blair Flucker as King Golem. Pic: Robin Mair.
Painted drops and changes of furniture establish the various locations of Ankh-Morpork, resembling illustrations that might have sprung from Pratchett’s pages. Costume and prop design from Chris Allan, Hilary Davies, and Grace Gilbert rounds out the world, from the slightly loving-hands-at-home uniforms of the Watch, to the snazzy suits of Drumknott (Frank Skelly) and Lord Downey (Chris Pearson), and appropriately vampiric ruffles of Dragon King of Arms (Matthew Jebb).
Original music from composer and sound designer Dug Campbell brings final life to the piece: spritely or menacing as appropriate, underscoring scenes and assisting with the show’s many transitions. The overture and entr’acte do feel slightly long for a straight play, which typically wouldn’t have either; but perhaps this is an ongoing conceit of the Strawmoddie Pratchett series?
Whether you’re a Pratchett die hard or a newcomer to the Disc, Feet of Clay is a good night’s fun. The characters are compelling enough, and the story interesting enough, to make you want to know more even when the stakes are never particularly high. It has the feeling a beloved, long-running television show, where shenanigans are always occurring but you know your favourite characters will be alright in the end.
Although the chance to see Feet of Clay’s short run has now passed, Strawmoddie will return with several more Pratchett adaptations in the coming months, beginning with Monstrous Regiment— be sure to follow them on social media to stay informed about upcoming shows!
The company of Feet of Clay. Pic: Robin Mair.
Running time: Approximately two hours and thirty minutes with one interval
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