History, with a difference

Let me start with a grave confession: I have not read a single book written by Charles Dickens. I have watched Gwyneth cavort in Great Expectations, laughed at Donald quack in Scrooge, and even hummed to "Food, Glorious Food" from the musical Oliver. However, due to a slight loss of brain matter, his literary works remain as much of a mystery to me as the show's title suggests.

To this, I owe Simon Callow a huge debt of gratitude. The Mystery of Charles Dickens, currently playing at the Athenaeum Theatre on Collins Street, is a fascinating theatre experience unrivalled in its audacity to portray the life and works of an English author permanently seared into public consciousness.

The show, written by Dickens' biographer Peter Ackroyd, begins with a voyeuristic look into Dickens' early years in 19th century England, from his early traumatic childhood to his breakthroughs in publishing. For a Dickens dummy like me, Akyroyd's narrative provides a biographical introduction into the mind of this English writer. However, the show really sparkles at the second half, where the full breadth of Dickens' characters - 49 in all - is fleshed out in all its glory. A particularly entrancing sequence takes us through Dickens' famous reading tours around Britain, as Callow runs the gamut of Dickens' beloved characters, from Oliver to Uriah Heep to a memorable recital of Mrs.Gamp.

The intricacy and depth of this show hinges on Callow's ability to captivate, and he hardly disappoints. Callow reminds you of that favourite uncle at the Christmas party who continually holds the table spellbound with his magic art of story-telling. He liberates the imagination with gesticulations and vocal acrobatics, as he moves seamlessly from one role to another. At one point, after an amazing re-enactment of Nancy's murder by Bill Sykes in Oliver Twist, he slumps on the chair in mock-fatigue, mimicking exhaustion. One can only imagine the effect the rest of the audience was feeling from this virtuoso display.

Acknowledgement should also be paid to the subtle contributions made by Nick Riching's lighting, which was altered and adapted to Callow's mood swings. The set design of upright and skewed picture frames, done by Christopher Woods, also deserves mention for its smart and distinctive look.

I must admit that I entered the theatre with a hint of scepticism, given the hype and hoopla bestowed on Callow and his performance. To that, I say bravo to his energetic and inspired show. It is one that will leave an indelible imprint on me about the complex life and tragedy of the celebrated Charles Dickens.

Jonathan Chew