I came across this little book about the National Theatre's 2-part stage play of
His Dark Materials that was published in 2003. Apparently, the NT had a habit of asking journalists and theater critics to "shadow" productions over time to document and promote them, so this is part of a larger series.
One thing this book makes abundantly clear is that this production was a one-of-a-kind thing that could never happen anywhere else because it was so involved and so dependent on the NT's staging, staff, and resources. [A 2009 revival in Birmingham had to be tweaked substantially in terms of props and sets in order to make it work.] This makes me even sadder that there don't seem to be any commercial recordings of it--the script was later published, but most of what I've been able to find thus far are pictures, reviews, and this book. There are a few video clips on YouTube, including one showing the
"drum revolve" set-up, though. Apparently, you can watch the NT's entire recording but you have to sign up in advance to view it onsite, and it's only one camera covering the whole stage with no-closeups on any of the actors and of mixed quality (as shown in the clip).
The best part of the book is when Butler writes a modern AU fanfic in which Lyra lives in the Olivier Theatre building and we explore it along with her. I also really enjoyed the sections on the production's approach to daemons and the practical aspects of building and manipulating the puppets. This book is an exploration of what it means to adapt a series of novels into a different medium, what gets lost in the process, and what remains true to the spirit of the original.
Two big changes that I thought worked well: Serafina Pekkala takes on Mary Malone's role, and the frame narrative of Will and Lyra meeting in the Botanic Gardens and their story proceeding from there before returning to them at the end. They pass by each other, so close they're almost touching, but they're in different worlds and they don't see each other. Yeah, that goes hard.
There is also a lot of discussion of Pullman's love of "toy theatres" and how those influenced HDM, which sent me down the Wikipedia rabbit hole. I wonder if Inu Curry was also influenced by these sets, as they are similar in many ways to kamishibai.
Weirdly, Butler seems to think that Will and Lyra had sex, which is just ??? to me every time it comes up. Apparently the UK version of the books had
slightly different wording in certain passages than the US edition, which I didn't realize, but I have never really interpreted it that way. Another oddity: I read the whole thing and still have no idea where the title of this book came from. I guess it's a metaphor for a darkened theater or something?
2003-2004 appears to have been the zenith of Philip Pullman's popularity and influence, and he gets the usual hagiographic treatment, so it's interesting to realize it's been something of a decline since then, with most of his later works being HDM-related spinoffs. There is a tendency for creators to "coast" on their big successes rather than venture out into new territory--"creator capture" might be a good term for it--and that appears to be what happened here.
Overall, the HDM stage play reminds me of the
Spirited Away stage play, which also used a revolving stage and puppets, though that has an official film version (two of them, showing off the two different actors who alternate between playing the lead) streaming on HBO Max. Too bad we didn't get that here! I think more stage plays should be filmed--I remember watching the official
Cats and
Stomp Out Loud recordings a bunch in middle school and the
Hamilton recording was a huge success, so the demand is definitely there.