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Rep have wind in their sails
Meeting of minds: Nicholas Prasad (Mole), Matthew Douglas (Toad), Robert Pickavance (Badger) and Oliver J. Hembrough (Ratty). Pictures: Robert Day The Wind in the Willows, Birmingham Repertory Theatre The Crescent **** KENNETH Grahame's tales of the riverbank
are brought imaginatively to life in this colourful Christmas production
by The Rep. The adventures of Toad, Ratty, Mole and Badger
may be a century old but they remain just as charming for today's
generation of youngsters. This is largely down to Grahame's gift for
characterisation – a skill which is carried wonderfully into this
production. At the centre we have the irrepressible Toad –
whose love of motorcars leads him into serious trouble. Toad's sense of
self-worth never wavers as he carries out his daring escape and heads
back home. Matthew Douglas is fabulous as Toad - he plays up to the
audience who can't help but love him despite his manifold faults. His
escape dressed as a washer woman and his attempts to evade justice just
make for great theatre. Among his companions is the slightly gruff but
kind-hearted Badger (Robert Pickavance), the ever fussy but caring Ratty
(Oliver J Hembrough) and the naïve but loveable Mole (Nicholas Prasad). The staging also benefits massively from being
adapted by Alan Bennett. His dry wit is written all over the production
with some very sharp dialogue which bring a smile to the adults in the
audience. Even the baddies, the weasels, are bad in a very
funny manner. Their frequent frustrated attempts to capture the heroes
of the piece are a running gag through the show and when they meet their
come-uppance we discover they are actually just big softies after all. The production I saw overran the advertised two
hours and 25 minutes and the first half would certainly have benefited
from shaving off a few minutes but once the adventure begins, the
production keeps quite a good pace. Directed by Gwenda Hughes and designed by Michael
Holt, there is plenty to keep children's attention. The creative sets
allow the story to switch between woods, prison cells and various
creatures' homes without pause and ensuring space for boats, cars and
trains. Plus there are a few special effects which I won't divulge for
fear of ruining the surprise! To 19-01-13. Diane Parkes And down by the riverbank IN 1905, in the days when bankers were good guys,
the Secretary of the Bank of England published a childrens' story which
was destined to become a classic. Edinburgh born Kenneth Grahame's life was a drama
in itself but it is for Wind in the Willows that he will always be
remembered, a tale which has delighted generations of youngsters and is
remembered with warm affection by legions of parents. The charming tale of the ebullient Mr Toad of
Toad Hall and his companions Ratty, Mole and Badger is brought to life
in this Alan Bennett adaptation by Birmingham Rep.
Matthew Douglas gives us a delightful larger than
life toad you can't help liking even when he is being a gold plated
snob. Robert Pickavance is a gruff yet kindly badger while Nicholas
Prasad a rather mild-mannered, agreeable Mole. Oliver J Hembrough
provides a matinee idol of a Ratty, dapper and very particular in white
trousers, commodore's cap and blazer looking like a refugee from some
1930's romantic comedy – black and white and soft focus. Set against them we have the weasels, stoats and
fox, the wild wood massive, led by Chief Weasel, Michael Hugo. They are
the baddies but in a cartoon sort of way getting things wrong more often
than not. Star of the show though is Chris Nayak as Albert,
the world's most depressed horse, who is never happier than when he is
moaning, and moaning . . . and still moaning – all in a Brummie accent
thick enough to repaint the Bullring. The story is simple with Mole tiring of spring
cleaning and coming to the surface for the first time to meet Ratty and
be introduced to the wide world and the river. The pair meet Toad, who
changes interests like other men change socks. He has gone through
punts, we join him as caravans have become the greatest thing since
sliced bread (what was the greatest thing before sliced bread? Anyone
know?) and then comes cars - which Toad writes off on an almost
daily basis. They are his downfall which see him jailed followed by a
daring escape and a battle with the weasels, stoats etc. As seems to be the norm these days, half the cast
also had to provide the orchestra with keyboard, bass and tenor sax and
even a saw among the instruments. The design, by Michael Holt, is simple but
effective, making good use of the Crescent's revolving stage and
providing attractive costumes for the anthropomorphic characters while
Gewenda Hughes direction keeps things moving along at a fair old pace –
let that drop and little ones will soon let you know! It is perhaps not an ideal show for the youngest
tots – too many words and not enough silliness – but once a child
appreciates stories they will appreciate this, along with mums, dads,
grandparents, great grandparents . . . To 19-01-13. Roger Clarke
And from the other bank . . . **** THIS is the Rep's final Christmas production
outside their normal home during the major redevelopment work, and they
cross the Brindley Place canal to the Crescent for the riverbank tale of
boastful Toad and his level-headed friends Ratty, Mole and Badger. Kenneth Grahame's heartwarming story, adapted for
the stage by Alan Bennett, is beautifully told with the help of some
pleasant music and lyrics by Jeremy Sams. The characters are perfectly cast, with Matthew
Douglas a delight as the super-rich Toad who, to the exasperation of his
pals, hops from one fad to another with bewildering speed and brief
enthusiasm. The revolving section of the stage proves ideal
for that as a colourful caravan, motorocar, canal barge, steam train and
rowing boat turn up to impress adults as well as children in the
audience. But it's perhaps the gipsy caravan that has the
biggest impact....pulled by Albert the doleful, clog-dancing horse with
a Brummie accent, superbly played by Chris Nayak. He's anything but
happy with his lot between the shafts, and his facial expressions speak
volumes. Oliver J. Hembrough impresses as Ratty, in smart
naval uniform, who befriends the gentle Mole (Nicholas Prasad) and the
pair team up with Badger (Robert Pickavance) in an effort to get the
tearaway Toad to mend his ways, particularly after he escapes from
prison dressed as a washerwoman. Always close to the action are the menacing
weasels led by their crafty chief (Michael Hugo) who
eventually illegally occupy Toad Hall until Badger leads our heroes on a
raid which ends in the final battle for control, sword fights and all. Several members of the cast play musical
instruments in the play directed by Gwenda Hughes, with Conrad Nelson's
musical direction. The riverbank raids continue until January 19. Paul Marston
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