Around the World in 80 Days: development of pace and rhythm

Pace Development in “Around the World in 80 Days”

“Around the World in 80 Days” employs a swift pace to mirror the swift journey that lies at the heart of the plot.
Pacing is used to emphasize the urgency of the journey, creating a sense of tension and excitement.
Changes in pace also focus attention on more dramatic or crucial set pieces.
The prevalent use of physical theatre can dictate the pace of the scenes. Fast and energetic movements indicate tension and urgency, while slow, deliberate movements suggest calm or seriousness.
Actors must master the modulation of pace in line delivery to cater to the needs of the narrative. Rapid-fire exchange of lines could indicate tension or excitement, while slow and measured delivery could imply seriousness or contemplation.

Use of rapid dialogue, quick scene transitions, and light-hearted humour helps maintain the rhythm.
Rhythm is developed through reoccurring motifs. For example, the tick-tock of a clock underscores the continual passage of time.
In every locale Fogg and Passepartout visit, local music and dance influences the rhythm of the play.
Use of cyclical narrative structure, with the play beginning and ending in London, maintains a consistent rhythm.
The definite structure of the journey—always moving forward, with little backtracking—maintains a steady rhythm.

The medium of transport they are using, whether it’s the energetic elephant in the Indian jungle or the slow, drifting boat, affects the rhythm and pace.
Unexpected incidents, like missed connections or delays, are used to disrupt the rhythm and introduce tension; then, resuming the journey reinstates it.

Tech elements like sharp lighting changes, sound effects, and music can manipulate the scene’s rhythm and pace.

The rhythm and pace of the play must harmonise with the overarching themes of adventure, exploration, and time.