Big Fish

Big Fish 12-chair is the new, small-cast version for 12 actors of a short-lived Broadway musical featuring music and lyrics by Andrew Lippa based on the novel by Daniel Wallace and follows on from the Tim Burton’s film of the same name.  

At the centre of the story is Edward Bloom the main character, who is on his deathbed and reliving his “exaggerated” tales of life.  Fish stories are the tales Edward tells his son, Will and are, of course, what “Big Fish” is all about.  I’m telling you all this because Big Fish was a new one on me. Apparently “the musical has elements from the book and movie, as well as a few new takes on characters and situations”, and who am I to dispute that, never having seen either?  What I do know is, it is a great show: full of lovely songs and tunes: lively and at times sentimental.  

Much of the music is complex but the singers and The Ashton Stomp Octet under the musical direction of Maria McElroy did a splendid job.  Excellent choreography too by Emily Starr and Guest Choreographer David Mallabone.

This role of Edward, teller of fishy-tales was tailor-made for Tim Meikle who was absolutely outstanding, producing a performance full of energy and skill with the good vocal talent.  

Laura Bryant played Sandra his wife giving an excellent performance topped off with a lovely voice.  I Don’t Need a Roof was beautiful.  Edward and Sandra’s love story is brought to life through a multitude of ages, from 15 to 50, as the story moves from present-day to past and back again. 

Edward tells Will about how, as a teenager, he met a Witch, played by Shelley Martin who has an amazing voice. About the time he faced down a Giant, confidently played from great height by Aiden Roe who was terrorising his small Alabama hometown. And the story of how he met Will’s mother, Sandra at the circus.  

We enjoyed fine performances from Aidan Meikle, following in family tradition as Young Will and Josh Greene as grown up Will, who is now about to become a father himself with wife Josephine played well by Becky Gilbert. There was nice empathy between this couple.

Apart from Edward, Sandra and grown-up Will, the other nine actors, doubled as school friends fishermen, wedding guests, circus performers, and college students, zipping in and out of the first-rate costumes with aplomb. Every single member of cast gave unstinting commitment to the production.  

Barry Starr’s set was impressive having multiple functions, swiftly transforming into a bedroom, a hospital, a circus, a cave, a meadow . . . the possibilities appeared endless.  There was even a river through which a mermaid “swam”. Great stuff.  Well done too to the whole technical team. Sound and Lighting were spot on cue the whole time.  Hair, Make-up, Costumes, Props and the lovely daffodil backdrop looked great and the scene changes exceptionally swift.

The matter of facing up to one’s own mortality and the subsequent funeral was well handled. Emotive without being morbid.  Part of this, of course, would be in the writing but the Director has to bring it to fruition and here Director Emily Starr did a great job.

Wilburton Theatre Group can always be relied on to offer their public something different and this show was just that.  It overflowed with humour, emotion, lively performances and excellent singing.  It is a show which reminds one why we love going to the theatre.

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