WIND
IN THE WILLOWS
Linbury
Studio at the Royal Opera House
22.12.12
Last
show of the year, 180th audience I've joined in 2012, and
a special treat, the chance to catch up at last with Will Tuckett's
enchanting Wind in the Willows deep under the Royal Opera House in
the Linbury Studio.
Loads
of very young children in the audience, and they loved it, despite
very few concessions being made to tender years. There was a
literate, poetical narrative [written by Andrew Motion, no less,
pastoral often, but with urgent Night Mail rhythms for the exciting
dénouement] and plenty of theatrical magic – butterflies on
mittens, snowfall on the stalls for the carol singing, and a wardrobe
which disgorged the river. And through the wardrobe, not Narnia but
Toad's gypsy caravan. The police pursuit of the errant Mr Toad, in
his little motor, was conducted through the crowded foyer in the
interval ...
The
storyteller was Kenneth Grahame himself [Anthony McGill], guiding us
through the story and watching it unfold from his favourite armchair
in the attic.
The
music, played by a chamber ensemble, was inspired by George
Butterworth, composed by Martin Ward and conducted by Tim Murray.
There were songs, as well as dance, a pantomime dame for the Gaoler's
Daughter, even some Morris Dance work with handkerchiefs, and all the
unforgettable characters from the riverbank.
Will
Kemp was a superb Ratty, pipe clenched between his teeth, nicely
contrasted with Clemmie Sveass's modest, myopic Mole. Tom Woods made
a wise old Badger, and Cris Penfold's Toad was an amazing creation,
assuming a brilliant physical persona which exactly matched the
character Grahame's created. All the creatures were much more human
than animal; just a hint of make-up, a suggestion of fur. The weasels
were strutting teddyboys, the stoats, and the judge, beautifully
animated puppets.
The
whole experience held us all – from the tiniest to the most cynical
– enthralled, captivated by this Edwardian fantasy fable – "a
world at once impossible and true".
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