Big Fish

It’s always a pleasure to visit a production that is not seen that often, although I had previously watched an abridged version of the musical of Big Fish, based on the novel by Daniel Wallace that was made into the well-known movie directed by Tim Burton in 2003. WLOG have never shied away from doing something slightly against the norm, titles including “Curtains,” “The Drowsy Chaperone,” and “Young Frankenstein” being amongst some of these.

I was pleased to take my seat for the final performance, and off we went into Edward Bloom’s world of exaggerated storytelling. The set was simple, using scenic projections to reflect the changing locations, along with a single bed downstage right, and signage downstage left to indicate where we were in the story. Backing tracks were used for the musical numbers, ably controlled and cued by MD Joanna Willowbrook. Costumes were good, especially those of the Witch, the crow dancers, Giant “Karl,” the Mermaid and Ringleader Amos Calloway.

As the plot takes us back to Bloom as a young man, his son Will Bloom (Rob Land), tries to unpick fact from fiction of his Father’s tales as his Father’s life tragically comes to an unexpected end. Rob Land did an excellent job of son Will, as he skilfully balanced the characters difficult and suspicious relationship with his father. Vocally, the number “Stranger” was a poignant reflection of Will’s relationship with his father, as the news that his wife is expecting a son forces him to confront the emotional distance between them.

Dominic Willowbrook delivered an energetic and charismatic performance as Young Edward Bloom, with exceptionally strong vocals throughout. His duet “Time Stops” with his onstage wife, Sandra Bloom, was particularly lovely. Sam Fennelly’s portrayal of Sandra was warm and tender, with equally impressive vocal strength. Her rendition of “I Don’t Need a Roof” was a standout moment, beautifully delivered and clearly moving, bringing a few tears from the audience.

Ian Cook was a convincing Edward Bloom Senior, supported by a very strong Southern American accent. Accents were consistently good across the principal cast and added authenticity to the production.

Megan Gallagher gave a brave and effective performance as Karl the Giant, towering over Bloom—presumably achieved through the use of stilts. There were also strong supporting performances from Daisy Tyrell-Kent as the Witch, Mel Bedford as Amos Calloway, and Ophelie Ribery as Jenny Hill.

There were further good performances from Taryn Land, as Josephine Bloom, Eddie as Young Will, and Helen Cook as Don Price.  

With a full supporting cast this was a very enjoyable production. My congratulations to Director Charlie Collins and thanks to everyone at Waveney Light Opera Group.

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