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Stars explained: * A production of no real merit
with failings in all areas. ** A production showing evidence of not
enough time or effort, or even talent, and which never breathes any real
life into the piece – or a show lumbered with a terrible script. *** A
good enjoyable show which might have some small flaws but has largely
achieved what it set out to do.**** An excellent show which shows a
great deal of work and stage craft with no noticeable or major
flaws.***** A four star show which has found that extra bit of magic
which lifts theatre to another plane. |
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Toad decks the hall with . . . jolly Wind in the Willows Dudley Little Theatre Netherton Arts Centre *** THERE'S a woman who insists on saying,
“Och aye the noo” and there's a Black Country horse. There's fleeting
anxiety for Mr Toad: “Perhaps he's been caught by the Weasels.” Cue laughter all round. It's a happy show, the Kenneth Grahame tale
having been adapted by producer Andrew Rock – although when somebody
comes along saying, “Has there ever been such a display of theatrical
talent?”, it's perhaps pushing things a bit. It's a no-frills production: not much in the way
of scenery, and it is only Badger (John Lucock) and the ebullient Toad
(Garry McWilliams) whose faces have undergone a serious transformation. The other denizens of the River Bank include Rat,
of course – but dear old Ratty (Kevin Stanley), with his blazer and
flannels, could pass unchallenged at Henley Regatta. It doesn't matter
that he is not remotely rat-like. What does matter is that he gets away
with it with his confident contribution. But what matters above all is that the production
has in Mr Toad a centrepiece capable of carrying a load of absurd
self-awareness and self-mocking moments – and Mr McWilliams does this
with aplomb. Here is a Toad who is bumptiousness personified; a
strutting, arrogant creature who is nevertheless likeable without being
lovable – because lovable would be pushing it.
He poop-poops with gusto and he builds on his
bravado when his need to escape the clutches of the law sees him enter
stage-left as a buxom washerwoman. He has adopted a high-decibel delivery so
unflinchingly that prayers for his larynx would not be out of the way.
But assuming that his voice-box retains its vigour he is outstandingly a
Toad to be treasured. Beside him, as Kenneth Grahame undoubtedly
intended, all others pale – not into insignificance, but sufficiently
for us to know that Toad is not going to have to fight off any
competition. That is what Grahame intended 103 years ago, and that's
what happens here. This is a Toad surrounded by unselfishness; a Toad
with a team who are required to share the stage rather than shine on it.
There can be no room for even one extra egomaniac This is strictly Toad
territory. Nevertheless, the animal kingdom is well
represented throughout. Apart from Badger, there are Rat (Kevin
Stanley), Mole (Rebecca Clee), a welter of Weasels led by Chief Weasel
(Louise Lammas), plus assorted rabbits and a mouse. There are some lovely lines, polished in their
delivery and looking to the Black Country to provide that extra bit of
memorability: “I can feel me clothes droppin' orf me back, even as we
speak.” “Ta very much – yow'm very kind.” “'Ow me 'eart flutters!” As it happens, there's not an undue amount of
messing about in boats alongside this River Bank, but there's plenty in
its place – not least, the amusing contribution from James Silvers, as
the Judge. To 10-12-11 John Slim |
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