Keep an eye on the curse of the were rabbit The curse of the were rabbit is an unusual and intriguing concept. In folklore, a were creature is usually associated with the transformation of humans into animals, most commonly wolves, during full moons. However, in the context of "Wallace and Gromit: The Curse of the Were-Rabbit," the were rabbit takes center stage. This animated film, created by Aardman Animations, follows the adventures of the beloved inventor Wallace and his loyal and intelligent dog Gromit. Together, they run a pest control service called Anti-Pesto, which focuses on protecting gardens from rabbits. However, their biggest challenge arises when a giant rabbit threatens to ruin a vegetable competition.
A Midsummer Night's Dream
Shades of MacLaughlin s adult theater troupe, New Paradise Laboratories, emerge in the way the Twylyth Teg, a quartet of fairies, move almost as a unit, flitting around the stage and speaking alternately in turns and in unison, to entice the prince and his half-dragon half-human friend Gryff to remain with them for eternity. In this case, the entity is Princess Briar Rose s family kingdom and the vast woods beyond, which hold warring witch sisters, good and evil, entangled in a battle royal over the princess fate.
However, their biggest challenge arises when a giant rabbit threatens to ruin a vegetable competition. The twist comes when Wallace inadvertently becomes the were rabbit, a monstrous creature that emerges during the full moon. This unexpected turn of events adds excitement and suspense to the storyline.
'Sleeping Beauty' casts a delightful spell
The Arden Theatre Company's Sleeping Beauty is that rare production whose discrete elements - set, costumes, music, lighting, directing, acting - add up to one enchanting entity.
by By Wendy Rosenfield, For The Inquirer Published Dec. 10, 2007, 3:01 a.m. ETThe Arden Theatre Company's
Sleeping Beauty
is that rare production whose discrete elements - set, costumes, music, lighting, directing, acting - add up to one enchanting entity.
In this case, the entity is Princess Briar Rose's family kingdom and the vast woods beyond, which hold warring witch sisters, good and evil, entangled in a battle royal over the princess' fate.
AdvertisementKris Stone's set is flanked by two enormous swinging pendulums and lies beneath a looming clock face, representative of time that is always slipping inexorably away: The princess' dreaded 16th birthday arrives before anyone is prepared for it; a half-century of sleep is gone in the time it takes to have a conversation with a menacing Spider King.
Brian J. Lilienthal's lighting keeps the shadow of a spinning wheel turning, the forest light dappled, and the garden sunshine warm and bright, while the plucking of Jorge Cousineau's harp-filled sound design glints brightly in the background.
Charles Way's script works as a pre-Shakespeare primer, using
The Tempest
A Midsummer Night's Dream
as jumping-off points for an adaptation tailored to suit contemporary language and situations. Boys will appreciate the delightful Owain's (David Raphaely) unwillingness to kiss Briar Rose (That's just plain icky, of course!). And girls will appreciate the fact that if it weren't for the intervention of dark sorcery, the princess would be perfectly capable of defending herself.
Occasionally, Way's text doesn't match the production's vivid imagery, but director Whit MacLaughlin easily makes up the difference. Shades of MacLaughlin's adult theater troupe, New Paradise Laboratories, emerge in the way the Twylyth Teg, a quartet of fairies, move almost as a unit, flitting around the stage and speaking alternately in turns and in unison, to entice the prince and his half-dragon/half-human friend Gryff to remain with them for eternity.
Richard St. Clair's costumes are saturated in richness and texture - and in the case of Doug Hara's athletic, copper-scaled, mohawked Gryff, and Sally Mercer's frighteningly evil Modron, with her woven-twig horns, they are downright iconic. St. Clair's sole miscalculation is Briar Rose's (Nako Adodoadji) Act 1 outfit, which is too bright and modern - particularly unfortunate, as it directs attention to the fact that Adodoadji is the weakest of the actors.
Luckily, the others are strong enough that her inexperience scarcely matters, and the Arden can deliver all the magic promised in this classic fairy tale.
Sleeping Beauty
Written by Charles Way, directed by Whit MacLaughlin, scenery by Kris Stone, costumes by Richard St. Clair, sound by Jorge Cousineau, lighting by Brian J. Lilienthal.
Cathy Simpson (Branwen/Twylyth Teg), Sally Mercer (Modron/Twylyth Teg), Doug Hara (Gryff), Paul L. Nolan (King Peredur/Spider King), Mary Elizabeth Scallen (Guineviere/Twylyth Teg), David Raphaely (the bishop/Prince Owain), Nako Adodoadji (Briar Rose/Twylyth Teg).
Arden Theatre Company, 40 N. Second St., Philadelphia through Jan. 27. Tickets: $14 to $30. Information: 215-922-1122 or
Richard St. Clair's costumes are saturated in richness and texture - and in the case of Doug Hara's athletic, copper-scaled, mohawked Gryff, and Sally Mercer's frighteningly evil Modron, with her woven-twig horns, they are downright iconic. St. Clair's sole miscalculation is Briar Rose's (Nako Adodoadji) Act 1 outfit, which is too bright and modern - particularly unfortunate, as it directs attention to the fact that Adodoadji is the weakest of the actors.
As Anti-Pesto races against time to capture the were rabbit before it wreaks havoc on the town's prized vegetables, Wallace and Gromit must find a way to stop the transformation and save the day. The concept of the curse of the were rabbit adds a supernatural and mystical element to the otherwise lighthearted and comedic film. It explores themes of transformation, control, and the unintended consequences of scientific experiments gone awry. As the plot unfolds, viewers are kept on the edge of their seats, wondering how Wallace and Gromit will manage to break the curse and restore peace to their town. The film's animation style, which combines stop-motion clay animation with traditional hand-drawn techniques, adds a unique visual appeal. The attention to detail and the expressive nature of the characters' faces bring the story to life, further immersing the audience in the world of Wallace and Gromit. Overall, "Wallace and Gromit: The Curse of the Were-Rabbit" is an entertaining and imaginative film that explores the concept of a cursed were rabbit. **The film keeps viewers engaged with its captivating storyline and visually stunning animation.** So, be sure to keep an eye on the curse of the were rabbit, as you won't want to miss this thrilling adventure..
Reviews for "Tales from the Burrow: Folklore and Stories Surrounding the Were Rabbit"
1. Jessica - 2 stars - I was really disappointed with "Keep an eye on the curse of the were rabbit". The storyline felt forced and lacked originality. The humor fell flat, and I didn't find myself laughing at all. The characters seemed one-dimensional and I didn't connect with any of them. Overall, it was a forgettable and underwhelming film experience.
2. Mark - 3 stars - "Keep an eye on the curse of the were rabbit" tried to be a quirky and funny animated film, but it missed the mark for me. The animation was well-done, but the story felt disjointed and rushed. The jokes felt forced and didn't elicit much laughter. While the voice acting was decent, the characters lacked depth and development. It's not the worst animated film I've seen, but it definitely didn't live up to my expectations.
3. Sarah - 2.5 stars - I had high hopes for "Keep an eye on the curse of the were rabbit" but it fell short for me. The concept of a were-rabbit sounded interesting, but the execution was lacking. The pacing was off, with unnecessary filler scenes that didn't add much to the overall story. The humor seemed forced and aimed more towards a younger audience. I found myself losing interest as the film progressed. Overall, it just didn't captivate me like I had hoped it would.