Whistle Down The Wind

Based on the 1961 film, located in Lancashire, that starred the young Hayley Mills and Alan Bates, Lloyd Webber decided to relocate the story into the American Deep South where you had fearsome preachers who fire up their congregation into going on a witch-hunt. A group of children discover a fugitive hiding in their barn, they ask him who he is, he simply replies “Jesus Christ” before collapsing. Having been brought up as devout Christians they believe he is the Son Of God and promise to protect him from the authorities. This story is about the innocence of children and the prejudices of the adults. We see how this relationship affects the children, The Man and especially 15yr old Swallow. 

An open stage greets the audience with a very interesting rustic composite set on different levels. The use of the barn doors was particularly effective. This was a permanent structure at the back of the stage and to give the idea of different scenes, there were trucked pieces or clever lighting. However, sound was bit of a problem but didn’t detract overall. The costumes depicting the 1950s completed the visual effect.

Hats off to the highly disciplined large chorus and MD John Pead who had a very tricky score to master with clashing harmonies and contrasting melodies. The orchestra, hidden from view, provided a full, faultless accompaniment complementing the soloists and chorus perfectly. The score requires strong soloists from children and adults alike. David Jones as The Man is not, I don’t think, a natural tenor but he managed the mix of rock and pop quite well and his character was brooding and mysterious. Well cast as Swallow was Sophie Knight, managing to look 15yrs old and bringing a naivety to the role, reflected in her chemistry with her younger brother Poor Baby (Max Forgeron) and sister Brat (Maddy Dunmore) both of which deserve plenty of praise. The rest of the children were delightful and had two of the show’s most popular songs to sing “When Children Rule The World” and that Boyzone hit “ No Matter What”. The title song “Whistle Down The Wind” was sung beautifully and meaningfully by the children’s father Boone in the capable hands of Anthony Eglinton.

In the second sub-plot Amos and Candy were a young couple desperate to leave town. Harry Wells and Rachael Robinson were excellent in their performances. This sub-plot seems a bit superfluous (despite the vintage motor bike!) but does eventually meet up with the main storyline concerning the religious undertone of the townsfolk in the form of meetings and ‘dancing with snakes’. The rest of the named parts were all-important in their own rights and each added to the whole.

Taking on a musical such as this is not easy, especially when you add children into the mix but I can confirm that Director Keith Neville has not had a nervous breakdown – yet! He and his team have put a lot of hard work into bringing such a meaningful production to fruition.

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