reviewvancouver: Pacific Theatre-The Hobbit, Elizabeth Paterson

JRR Tolkien’s much-loved tale of adventure and fantasy has inspired a wealth of film and drama adaptations, a modern literary genre and games - video games, board games and role-playing games.

In this spirit, Kim Selody's adaptation of the novel for the stage has been adapted again for a small cast of two humans. There are no puppets, no projections, no shadow play, but very present is a cast of trolls, elves, goblins, a dragon, a spider, a wizard,13 dwarves and, of course, a hobbit, played by the versatile and very talented Tim Carlson. Peter Carlone is a likeable, commanding chief dwarf, Thorin. Together they share the rest of the parts, all nicely distinguished from one another by voice, accent, gesture and a mere sketch of a costume change (credits to Stephanie Kong).

Set in a neat retro living room complete with plaid sofa and open shelves covered with knick-knacks designed by Alaia Hamer, the play opens as Tim arranges a board game and Peter arrives dressed as Thorin. They begin their game, pulling bits and pieces off the shelves as game pieces. 12 more dwarves are represented by a cup, a plastic figure, playing cards, whatever comes to hand. They are stashed in a leather satchel for the duration, emerging as required.

Fun, imaginative, economical and clever, the conceit describes the show as a whole. The board game quickly develops into a more active role-playing game and with the arrival of Gandalf – a voice through a speaker – the actors are acting a part, not a character. The play slips back and forth through these layers, lighting the story with energy. This needs skill to pull off, found in Laura McLean’s clear, and the actors protean powers.

The play manages to include all Tolkien’s adventures and moves along at a rapid clip, interspersed with moments of reverie and comedy. Gollum remains true to Tolkien’s early characterization as a lover of riddles. It is a pity that the riddles themselves got lost in a patch of unclear diction. Tim Carlson’s turn as a superior wood-elf is priceless. With typical spareness, using nothing more than the back of a sofa for a horse and a blanket-cum-cloak, he had the audience in fits. Smaug ,the dragon, must be believed to be seen. Imagination is everything.

Alaia Hamer’s set is a performer in its own right, providing everything from Hobbit décor to dragon’s den, all the while collaborating in telling the story. Very effective lighting by Jonathan Kim joined MJ Coomber's music and soundscape enhanced and enlarged the production into a rewarding performance.

AThis play should delight those new to Middle-Earth and Tolkien afficionado’s alike.