Theatre Re’s Bluebelle – 11 June 2025, The Crucible
Review by Maisie Ellis.
Many have heard of the “ghost light”: a singular bulb that remains onstage overnight, lit to allow the theatre’s late-working employees to locate props without tripping over them. But there is also the superstitious reasoning for this lamp, with many believing that the light appeases the ghosts who haunt the stage, allowing them to continue performing even after the theatre’s nightly closure.
Theatre Re’s Bluebelle brings this idea to life. Over the course of just one hour, we witness the theatre’s ghosts taking over the stage to tell a story that combines a variety of themes from fairy tales and folklore. A king and queen cannot conceive, so must rely on the magic of the Bluebell Fairy to help them. A broken promise, overprotective parenting and the longing for “more” … what could possibly go wrong? While watching the play I was reminded of many of my favourite childhood stories: Sleeping Beauty, Pinocchio and Alice in Wonderland to name a few.
The production’s stagecraft was particularly impressive due to its simplicity. A series of miscellaneous objects hung from the rafters, symbolising different aspects of the story: the conception of a baby, a forest to get lost in, the lair of an Evil Witch. Two musicians stood at either side of the set-up, remaining there for the play’s duration. A dark curtain hung at the back of the stage which, when pulled aside, revealed a glowing white sheet on which the menacing shadow of the Evil Witch appeared. The stage was mostly dark – atmospheric light was cast over the set only when necessary. With an ethereal and somewhat Shakespearean quality to it, Bluebelle is a visually stunning production.
What impressed me most was the soundscape. Distorted wails from an electric guitar played the theme for the Evil Witch, commanding the audience’s attention, while the song of an eerie yet beautiful violin moves us and tells us what to feel. Much of the story was told through physical theatre, with a combination of balletic and contemporary movements. The actors moved with ease but each motion or gesture was intentional. The only time microphones are used in the production is to add to the soundscape. The actors sang, laughed, hissed and vocalised into the microphones which created a layered and busy sound environment, perfectly accompanying the mood of each scene.
The sound design was fantastic, but what was particularly brilliant about this production is that it is entirely accessible to deaf audiences. Theatre Re are known for the effort they put into planning and research with the aim of creating productions for wider audiences. My only gripe was that the hushed conversations were a little distracting at times. The main actors did not use microphones because spoken word was unnecessary but they still spoke English throughout. This meant that you could still make out the odd phrase and I found myself fixated on trying to listen to the actor’s dialogue, rather than focusing on the story and visuals. At the start of the play, the ghosts speak in gibberish and nonsensical vocalisations – perhaps if this was continued throughout the performance, it would add to the whimsical nature of the show and deter from distracting the audience.
Theatre Re are a company to look out for: whether it’s a future tour or a workshop you’d like to attend, they are constantly developing accessible and innovative theatrical experiences. Visit their website for more information.