In the early 1970s, an elderly German lady sought a print of a 1920s film at the British Film Institute. That lady was Lotte Reiniger, and the film was The Adventures of Prince Achmed, the very first animated feature film.
In The Animator, the new production from Akimbo Theatre, the popular narrative that it was an American, Walt Disney, who was the true innovator of animation is shown to be false.
Reiniger’s skill at animating paper silhouettes to create fairy tale on film is depicted in a play that utilises music, comedy, puppetry, political comment, and movement.
The important aspects of Reiniger’s story were her confidence in a world dominated by men, her faith in securing financial backing, and her resilence when it seemed her work had been destroyed by the Nazis.
We see her friendship bloom with fellow animator Carl Koch, here presented as somewhat shy and nervous. Other characters are multi-rolled with varying success, with a stereotypical American highroller being particularly grating.
Akimbo are known for clowning, dance and creating drama from gesture: while this is groundbreaking, some of the blocking and movement choices obscure key moments on the screen.
It’s a very ambitious production driven by the subversion of theatrical conventions; much the same as Reiniger’s silhouettes challenged what a ‘cartoon’ could be. I respect The Animator for that.
A segue here: when I first encountered Reiniger’s work through Prince Achmed and her shorts, I was wowed that this was created by moving cutouts. The illusion of depth was extraordinary (again predating Disney’s multiplane work by several years).
Akimbo Theatre’s devised show tackles dark themes including the changing cultural climate of Berlin (the persecution of those different by appearance or religion), the suppression of art through censorship and book burning, and even violence for the sake of fun.
I found the attempt of bringing comedy to the story of The Animator weakened it a little, almost as if the meat of the story needed a humour injection, when it doesn’t.
Technically, a sequence with a back-lit screen revealing performers changing from some angles could also be quickly fixed. Another small quibble is with the nature of censorship of a clip from Achmed, which is rumoured, but doubtful.
The performances of the five strong cast are very good. Lexie Baker is an absorbing Lotte, whether in the framing device as the older lady, or as a fresh and ambitious artist juggling work, love and prejudice.
Flo Wiedenbach, co-dramaturg with director Rosanna Mallinson, offers a touching portrait of a vanishing Berlin while seeing up the shadow puppetry scenes.
Owen Bleach (Lewis Hagen, Censor), Halvor Tangen Schultz (Carl), and Richard Durning offer strong support in a fine tribute to an artist whose work was thought lost for over 40 years.
With more care with the comedy aspects, and awareness of the placing of the audience, this could grow into a stronger show.
I’m giving it 3.5 in its current form.
You can watch The Animator at Southwark Playhouse Borough until 30 Aug.
A good version of The Adventures of Prince Achmed is currently available here.