Lauren Crisp is a book editor, writer and keen follower of arts and culture. She reviews theatre and cultural events in and around the district in her spare time.

You can contact Lauren on laurencrispwriter@gmail.com. 

Juliet Forster’s adaptation of Jules Verne’s 1873 classic is a colourful, circus-themed spectacular which, in a style reminiscent of theatre company Mischief’s ‘Go Wrong’ franchise, becomes a rollicking, high-energy play within a play.

We are introduced to a rag-tag circus troupe, eager to perform the tale of the infamous, intrepid Phileas Fogg. The Ringmaster (played by Mischief alumni Kiefer Moriarty) fervently assigns roles, bestowing himself the main part, and only very reluctantly accepting the artistic suggestions of his fellow performers.

The headstrong acrobat (Maria Gray) asks that an extra character might be included: real-life journalist Nellie Bly, who, inspired by Verne’s novel, successfully circumnavigated the globe in less time than the fictional Fogg – eight fewer days, in fact. 

In a twist on the classic tale, Nellie is woven into the narrative, becoming Fogg’s rival, of sorts. It’s a unique touch, but, in what seems a missed opportunity, Nellie’s portrayal, as written and acted, is rather dull. Sadly, her inclusion prolongs an already overly lengthy production.

Through Italy, Egypt, India and beyond, the troupe portray Fogg’s international adventure. Breaking the theatre’s fourth wall on various occasions, the characters discuss elements of the story, pointing out historical inaccuracies and challenging colonial narratives.

A big-top themed set becomes the cast’s playground, complete with ladders and trapdoors; masterful use of lighting, music, costume and props encourage audience imagination. 

Despite its small size, the multi-role cast of five does a tremendous job of making the stage feel constantly alive. With an array of characters, accents, circus skills and comedic performances on show, the actors display real zeal.

Pitched, it seems to me, primarily at a young audience, movement and theatricality are the play’s driving forces. Taking us on train journeys and elephant rides and battling storms at sea, it’s a bright, bold piece, but one which possibly tries to take on too much.

This is not to undermine the valiant efforts of cast and crew who, clearly, have put a lot of love into the show. The kids will lap it up, and it may make an explorer out of one or two.

Around the World in 80 Days-ish! is on at York Theatre Royal until Saturday, August 3.