James and the Giant Peach

This play was a delight as I followed this Cinderella-like tale to its happy conclusion.  In an entertaining adaptation by David Wood of the Roald Dahl children’s book the characters, portrayed on film, television and in musical, came alive on stage for an audience of adults and children alike.   The short script was ideally suited to a performance during the school summer holiday - and if the ideal summer weather we’d have liked last night was not to be, at least we had less time to sit in the pouring rain!  Whilst we sat in waterproofs and huddled under umbrellas the indomitable cast members braved the elements in only their thin costumes and, if for no other reason, fully deserved the well earned applause.  …but, of course, there were other reasons!

The set featured a low raised platform topped by backing flats across the width of the stage with a dog-leg entrance at centre.  In front stood a large and imposing double-doored wardrobe with, at its right, a chest of drawers, both of which, it transpired, were sturdy enough to support the weight of cast members standing on top of them.  The use of the varying levels thus provided, resulted in very pleasing visual pictures being created.  A single bed and a gaily painted toy chest were the other static pieces, and a couple of chairs were added as items to be moved as necessary.  The orangey/tan colour scheme of this staging had been carefully selected to suggest a peach and was highly effective.

The number of props that the team had to amass was vast and their backstage management must have taken a great deal of thought as the rapid succession was seamless.  Even those that were on stage for the briefest time, as most were, were given attention to detail starting immediately with the giant-size storybook read to James by Daddy.  The Aunts’ appropriately different handbags, a hand mirror, deckchairs and cocktail glasses, magic bag (a nod to Jack and the Beanstalk there), microphone, cameras, an authentic cash box, and violin, all passed by in the blink of an eye.  Some were on for longer allowing us to appreciate their creativity – wonderfully inventive seagulls flying over a moving sea filled with fearsome sharks, bright fishes, and an imaginative umbrella jellyfish plus bubbles!, a compressed and beautifully painted two-dimensional ocean liner, and a mini giant peach with clearly recognisable models of its occupants.  The giant-sized, Giant Peach itself appeared in an instant as the duvet was pulled from the bed and stretched out to provide either cover or ‘raft’ for the characters as required.  

In some cases prop crossed over into costume when we fleetingly saw a rhinoceros (who knew you could buy a blow up rhino outfit?) or an octopus.  The characters themselves showed a considered decision behind their representational costumes.  James was realistic and relatively easy in his short pants and Fair Isle vest, immediately setting an era somewhat distant from today.  The Aunts were dreary in grey and black and splendidly opposite in the exaggeration of their different shapes.  Marvellous Man in his sparkly coat was suitably ‘magic’.  The Other Parts performers were able to play many roles by simply slipping over their black base outfit what was required - raincoats, hats, uniforms, etc., in a cycle of quick changes.  James’s friends were more of a challenge, I imagine.  Not entirely full pictures (like the rhinoceros costume), an impression of each creature was given by the adoption of colour and humour - so Old Green Grasshopper, who had to be green of course, was given a tail coat to indicate not only his status but also the shape of his folded legs, Worm was plainly dressed in dull beige and brown, Centipede’s many legs were economically shown by hanging multiple pairs of baseball boots around his neck: it was most eye-catching that they matched his tartan trousers and I wondered which came first!  The close-fitting black of Miss Spider and the contrasting roundness of Ladybird’s ‘50s style rock n roll skirt evoked the look of these two creepy-crawlies and Glow-worm’s sleeping bag, though there seemed to be some difficulty in fully getting in and out of it, had a magic panel that actually flashed and glowed.

…costume crossing over into lighting!  Suffice to say that we were able to see all of the action but I’m afraid any complex lighting plot was overlooked in the attempt to squint through raindrops cascading down my face (!) and the fact that, broadly speaking, it was a daylight performance.  In the gathering gloom of the overcast sky it was, however, possible to tell that the stage was illuminated.  The special effects, though, were what caught the attention… Marvellous Man’s bag of flashing crystals and the green glow from beneath the wardrobe when James dropped them were wondrously mystical.  There were many sound effects scattered throughout the performance to enhance the story and support the comedy; from burps and squelches, to a frantic cock crow, to foghorns, seagulls and a jet plane, all well-recorded and cued in on time.  Without microphones to amplify the performers’ voices there were times when words were lost and it might be worth noting for future reference that you want to avoid at all costs speaking upstage when outdoors, and that rain drumming on umbrellas means you have to work even harder.  Underscoring the action was a gentle soundtrack of incidental music that definitely added to the richness of the presentation with its synthesised ability to replicate different sounds – a quick burst of A Life On The Ocean Wave played sea-shanty style, for example.  The volume was perfectly modulated so that the voices were not drowned out and remained as audible as was possible given the actors’ tones… and the rain!

The direction led an ensemble of engaged performers who battled against the elements to fulfil their brief.  How much of the ‘business’ was written into the script I don’t know but what was delivered in this show was a well-crafted and entertaining production with carefully rehearsed moments of physicality.  Aunt Spiker’s wrestling to put up her deckchair as a comic piece was fully exploited and then topped by the struggle Aunt Sponge had to get out of hers.  The two made a keenly contrasting pair of ‘Ugly Sisters’ and maintained their characters admirably.  Centipede falling into the ocean was also a daring image.  There was almost a running gag in preventing Old Green Grasshopper from playing his violin but after only two instances it really needed the third to be given the title.  As mentioned, the use of levels to place cast members around the stage giving visual interest and variety was a notable achievement, as was the clear and comprehensible choral speaking.  The pace was maintained and cues picked up smartly, with good vocal projection by the more experienced members of the cast.  The arrival in New York called for American accents and these were acceptable as generic examples in this context.  The inclusion of an instance of audience participation completed the show’s pantomime-esque feel and we could all laugh at the request to provide a “COVID-safe up draught”.

The rain tried hard to dampen the spirits of the audience on the night I saw the show and since by the end everything and everyone was wringing wet, I should imagine you were all pleased that it was the last night and you didn’t have to get costumes dry by the next night.  The passing shower didn’t! … but the audience appreciated your determination that ‘the show must go on’ and all credit to you.  Millie in her tent and the sound and light technicians tucked safely under another can only imagine the sense of community that arises in shared adversity.  I was thoroughly entertained by this production and love having this opportunity to congratulate you all.  I received a warm welcome from the front of house team and appreciated the colourful and informative programme while I waited for ‘curtain up’.  Thank you for the invitation to visit you.

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