Review: Ben Hur at The O2

REVIEW
What have the Romans ever done for us?

Well, apart from roads, sanitation and wine, there is also an enduring fascination with sword and sandal epics, with Ben Hur Live: The Arena Spectacular - which enjoyed a triumphant world premiere at The O2 last night - the latest offering.

The production, which has endured a troubled 15-year gestation with financial problems and rehearsal accidents, met with almost universal acclaim from the audience at The O2 as it began a run that will take it to dozens of cities around the world over the next year or so.

The threat of a protest from animal rights activists, upset about the use of animals in the show, proved to be overestimated with only two people, dressed as pantomime horses, in evidence outside the venue.

It meant the almost full house could enjoy the ambitious, large-scale production which features a cast of hundreds of actors, plus a veritable menagerie of animals.

The story focuses on Jewish prince Judah Ben-Hur, betrayed by his childhood friend Messala, a Roman officer, and destined for a life - and expected death - as a galley slave.

Kept apart from his family and his betrothed, Esther, Ben Hur endures many hardships before finally finding redemption and happiness in Biblical Jerusalem.

Anyone familiar with Charlton Heston's muscular portrayal in the Oscar laden 1959 film version might be slightly disappointed by the almost peripheral roles of the cast, led by German actor Sebastian Thrun as Ben Hur.

Although they fill their roles with panache, the actors are really little more than ciphers around whom the spectacular set pieces can develop.

The minimalist staging on a sand strewn arena floor allowed plenty of scope for the big action scenes - a battle between a Roman galley and quad bike riding pirates, a Roman feast complete with a (simulated) orgy as well as a bustling recreation of the Jerusalem market.

It was all set to a stirring score by Stewart Copeland, formerly drummer in the Police, who also carried out narrator duties, a necessity since the actors all speak Latin or Aramaic throughout.

Ever the rock star, Copeland coolly wanders around the arena floor like a black clad ghost, slightly out of place in his modern gear among the dazzling costumes, designed by Ann Hoult.

The first half, which by necessity has to set the scene for the ensuing drama, was a little slow, but things livened up considerably in the second half.

A rousing round of gladiatorial contests, overseen by Messala and his new friend Pontius Pilate, was well staged, with the sword play delivered with far more gusto than is often the case in the theatre. It certainly seemed to thrill the boys, of all ages, watching agog to see which of the unfortunates would get the dreaded thumbs down for losing their bout.

Of course, the scene everyone was there to see was the chariot race. It duly arrived an hour and 40 minutes into the production and did not disappoint.

Five chariots, each pulled by a team of four horses, thundered round the arena in a fabulous recreation of the excitement of the Roman amphitheatre.

The audience suddenly became the Roman mob of the Circus Maximus, marvelling at the sheer skill of the charioteers and cheering on their favourites. It's a testament to their drivers' talents that, despite what was undoubtedly a well-rehearsed scene, it was entirely believable that they all seemed to be trying to win the race.

To see these animals at close quarters, thundering around the arena at speed, was quite something, especially considering that in rehearsal last week one of the charioteers was badly hurt when he became entagled in the reins and was dragged into the scenery.

Following that theatrical coup was always going to be difficult and as a result the ending, which focuses on the last days of Jesus, for this is still a Biblical tale, felt a little rushed and a little limp.

Nevertheless this was a successful start and one met with relief by director Philip Wm McKinley after the show.

He said: "It's been such a relief. My heart was in my mouth for the chariot scene after what happened in rehearsal but it went okay. I really hope we can bring the show back to The O2 because the audience really did seem to love it."

A fair assessment, as there was certainly a buzz in the audience as they left, with the youngsters brought along by their parents seeming to be particularly impressed.

There are things that do need to be worked on, perhaps some tightening up the longer scenes that can drag a little and maybe a bit more fizz to the finale.

But what had the potential to turn out as little more than a big budget nativity play proved to be far more rewarding than that.

Ben Hur is good family entertainment and one for which the vision and brio of the producers, notably Franz Abraham, should be applauded.

Ben Hur Live: The Arena Spectacular is at The O2 until Sunday. For tickets visit theo2.co.uk.