The Boy in the Striped Pyjamas was released in 2008 as a movie, based on the novel by John Boyne. A powerful story set in World War 2 where a young boy from Berlin moves with his family and befriends a Jewish boy, who has been put in a concentration camp.
This interpretation, staged by the Northern Ballet, was created by David Nixon and Daniel de Andrade. The production vividly encapsulates the darkness and sadness that lies within.
It has a very haunting feel from start to finish - this is especially depicted with The Fury's (Guiliano Contadini) appearance on stage, the portrayal and spectre of Hitler, which is guiding The Commandant (Joseph Taylor) to lead the camp – this performance is particularly mesmerizing to watch as you see the spirit manipulating the characters.
The music is consistent throughout the majority of the scenes, with a very sinister 1940s undertone. However, the relationship between the maid and Bruno is very warming and adds a light touch to the production, which is much needed.
The story is told with such emotion and passion through the articulate choreography, with many stand out moments. One in particular which was incredibly touching was when the guards lifted the prisoners out of the train and placed them on the floor to symbolise their capture. The suffering of the prisoners really came through and it was incredibly captivating.
The piece is staged beautifully, with the set being a good portrayal of the camp; especially with the fence separating the two boys. The lighting was, as you would expect, incredibly powerful; in particular when 'The Fury' appeared on stage and when Bruno (Kevin Poeung) was running and making his way from the house to the fence.
The relationship between Bruno and Shmuel (Luke Francis) developed in a heart-warming way, they gave each other hope and light in a dark situation as their friendship blossoms.
The ending was particuarly striking – the use of gas masks brought that haunting feeling back to the forefront and it was powerful to watch the prisoners be stripped of their dignity to enter the chamber – of course Bruno included.
A very solemn ending, with no music for the encore left the audience feeling quite moved and silent – to be able to put together an elegant portrayal of a particularly disturbing piece of history was a challenge, but one that seems to have been overcome triumphantly. A powerful performance overall.