December 5, 2011
The hemp fandango. The Tyburn jig. The sisal two-step. These charming expressions describe the dance-like jerking of a hanged man’s legs as the dying brain sends a last, desperate signal down the broken spine- or, in the case of a sloppy or cruel hangman, the victim’s thrashing as they try to find support before they asphyxiate. Cheery stuff, which immediately brings to mind musical theatre. Wait, what?
The macabre dance is rarely given instrumental accompaniment, but Oxford Castle Unlocked has decided to buck the trend. They’re hosting Dance Around the Gallows, a walking production that takes the audience back through the criminal history of what was once Oxford’s jail and centre of execution. From a slightly ominous reception in the Castle crypt to a heartfelt sob-song from an abandoned murderess in the tower, this show blends musical penny-dreadfuls with the most dramatic of settings.
The performances, both theatrical and musical, live up pretty well to their surroundings. A series of songs, inspired by criminal figures from the Castle’s history, and written by local folklorist Ian Giles, are performed ably by a company of Unlocked staff and some local musicians. Considering that few of the cast are professional performers, the vocal work is first-class, and really bring to life already fascinating stories. We meet a gypsy escapee, a dashing highwayman, and the aforementioned murderess, who claims she was tricked into poisoning her hated father by her fiancé, who has now fled. Unless he gives himself up, she faces the noose.
Compelling stuff, especially when we were led into the tower where our patricidal beauty is imprisoned by a brutal 18th century gaoler and the greedy, lecherous prison governor. For we too are prisoners- or at least, that’s what we’re told by the governor (who threatens us with rat-infested cells if we don’t cough up some bribes) who introduces us to each member of this nefarious ensemble. A fine performance from Ian Giles himself, aided and abetted by his gaoler and a hunched, black-capped, menacing figure- the executioner. These characters are really more like caricatures, but they’re certainly entertaining.
The shadow of the noose hangs over the whole performance, but oddly all this atmosphere doesn’t quite amp up the tension. Perhaps because of a little shakiness on press night (which I’m sure will have disappeared by now), the sense of menace promised by subject and setting never quite materialises. Perhaps the format- switching between ghoulish acting and cheery music- undermines any build-up of dread.
But then again, perhaps this is intentional. The whole experience is undeniably fun, more like an 18th-century Chicago than the Shawshank Redemption. Wandering the Castle at night; hearing (slightly hammy) screams from behind cell doors; hearing an elegantly-waistcoated highwayman sing his own eulogy: I defy you not to enjoy these things. There’s a touch of prison camp to the whole affair, particularly when we’re invited to dance a jig with the hangman at the end of the performance- although, fortunately, not at the end of a rope. And if the condemned prisoners are enjoying themselves a little more than you might expect, well, there’s no harm in that. I might not want to live in Oxford prison- but I certainly recommend a visit.
The macabre dance is rarely given instrumental accompaniment, but Oxford Castle Unlocked has decided to buck the trend. They’re hosting Dance Around the Gallows, a walking production that takes the audience back through the criminal history of what was once Oxford’s jail and centre of execution. From a slightly ominous reception in the Castle crypt to a heartfelt sob-song from an abandoned murderess in the tower, this show blends musical penny-dreadfuls with the most dramatic of settings.
The performances, both theatrical and musical, live up pretty well to their surroundings. A series of songs, inspired by criminal figures from the Castle’s history, and written by local folklorist Ian Giles, are performed ably by a company of Unlocked staff and some local musicians. Considering that few of the cast are professional performers, the vocal work is first-class, and really bring to life already fascinating stories. We meet a gypsy escapee, a dashing highwayman, and the aforementioned murderess, who claims she was tricked into poisoning her hated father by her fiancé, who has now fled. Unless he gives himself up, she faces the noose.
Compelling stuff, especially when we were led into the tower where our patricidal beauty is imprisoned by a brutal 18th century gaoler and the greedy, lecherous prison governor. For we too are prisoners- or at least, that’s what we’re told by the governor (who threatens us with rat-infested cells if we don’t cough up some bribes) who introduces us to each member of this nefarious ensemble. A fine performance from Ian Giles himself, aided and abetted by his gaoler and a hunched, black-capped, menacing figure- the executioner. These characters are really more like caricatures, but they’re certainly entertaining.
The shadow of the noose hangs over the whole performance, but oddly all this atmosphere doesn’t quite amp up the tension. Perhaps because of a little shakiness on press night (which I’m sure will have disappeared by now), the sense of menace promised by subject and setting never quite materialises. Perhaps the format- switching between ghoulish acting and cheery music- undermines any build-up of dread.
But then again, perhaps this is intentional. The whole experience is undeniably fun, more like an 18th-century Chicago than the Shawshank Redemption. Wandering the Castle at night; hearing (slightly hammy) screams from behind cell doors; hearing an elegantly-waistcoated highwayman sing his own eulogy: I defy you not to enjoy these things. There’s a touch of prison camp to the whole affair, particularly when we’re invited to dance a jig with the hangman at the end of the performance- although, fortunately, not at the end of a rope. And if the condemned prisoners are enjoying themselves a little more than you might expect, well, there’s no harm in that. I might not want to live in Oxford prison- but I certainly recommend a visit.