Jumping Mouse, Aug 27, 2000

By John Bolton Trades Hall until September 3, 2000

Reviewer: Kate Herbert

There is nothing more satisfying than a single actor in an empty space weaving a spell using only his physical and vocal skill to create characters and tell a story. Such is John Bolton's Jumping Mouse.

This solo show, directed by Neil Cameron,was first performed in Edinburgh in 1980. After touring internationally throughout the 80s, it is enjoying a revival.

Jumping Mouse is based on a NavajoIndian myth about a myopic mouse that leaves his fearful mouse family to find the great river and finally the Sacred Mountain.

He is helped in his epic quest by a territorial raccoon, a wise frog, a galloping buffalo and a lisping wolf. This story follows the classic hero's journey format of so many tribal myths. The mouse meets creatures who are his mentors, he confronts trials and monsters only to face his fate in the final scene.

It is a story of a simple creature seeking knowledge, experience and change in his life journey. The raccoon teaches him that the noise in his head is the mighty river. the frog send shim to the mountain and the buffalo carries him to his destination.

Through his willingness, generosity and naivete being transformed into one of the majestic eagles who terrified his mousy family.

Bolton first appears as a derelict traveller, wheeling his worldly goods in a battered pram. The character is eccentric, dignified and tells the Jumping Mouse story amongst various diversions into songs, poems, spoon playing and ritual brewing of tea.

Bolton is a consummate performer. His physical and vocal control is impeccable and his comic timing and character detail are both faultless. His relationship with the audience is intimate and his stage persona both charming and disarming.

He shifts effortlessly between characters in a split second and makes a complex acting process appear simple.

Cameron's direction in conjunction with Bolton's performance demystifies the theatrical process, allowing us intermittently to see the mechanics of the show when he comments on the actor's process and relationship to the viewer.

This is accessible and skilful theatre suitable for, although not designed for, families. It is a poignant parable for life told by an idiot.

By Kate Herbert