The Wind In The Willows

The Wind In The Willows was the perfect choice for a summer production in the open air holding the promise of attracting a large audience during the school holidays and allowing them to experience the River Bank amongst trees and the sounds and smells of nature. With many adaptations to choose from, you picked what might be viewed as the best.  Alan Bennett’s version of this timeless classic is a joy from start to finish and had me smiling throughout.  

SET  How coincidental that the Trebah Gardens theatre has a circle of grass as the stage area, which mimicked the original National Theatre design.  The long stretch of blue fabric across the front instantly gave us the river and was removed easily when no longer required.  Upstage centre stood a small, sturdy rostrum that was so versatile I’ve lost count of how many uses it had! The steps to its right moved around for the caravan and with the addition of just one tall, slender portable flat it became homes – inside and out, doors (Badger’s with snow drifts) and courtroom – and, by concealing a change of clothes, a dressing room.   Furniture was kept to the minimum and was moved by cast members with no delay in the action.  This was a very cleverly designed set and I was impressed by how simply and yet so clearly all the different settings were represented. The rowing boat that sat down left "bobbing on the water" was just a taste of what your set builders and painters would offer us as the show progressed.  … log fire/s, wheels that bowled across the green sward as the caravan rolled into a ditch, an authentic-looking bathchair, Toad’s carry-on car complete with perfect-sounding hooter, a gaily decorated barge and, the piece de resistance, a magnificent train engine beautifully painted to give a 3D effect and with smoke belching out.   

LIGHTING and SOUND  How do you begin to light a show that takes place in the open air and before dark?  With natural daylight it seems superfluous but as dusk fell the artificial illumination took over in a smooth transition coming into its own with mood lighting, particularly effective when the blue LEDs lit the Weasels’ midnight prowl.  The many sound effects must have taken a while to compile and were effective in supporting our imaginations as they filled in for what we couldn’t see and reinforced what we could.  The sound of doors unlocking and bolts being drawn gave us doors that weren’t there, the car engine started and travelled, a crash that we could tell must have been quite spectacular, and a chuffing steam engine helped to give the audience much pleasure and keep them enthralled. 

MUSIC  The small band sitting sheltered under an awning opened the show and as we looked we could see they were wearing rabbit ears! …a delightful touch of whimsy!  They ably supported the few musical numbers and were not the least bit overpowering, giving a balanced and comfortable backing to the vocalists.  The decision to keep the band to woodwinds probably helped this – drums can so often be the cause of a rise in volume. 

Your concept for the show must have been helped by your designer in adapting the set to fit your space, and your decision to cast ‘gender blind’ worked perfectly, with all the leads giving energetic and committed performances.  You had encouraged the cast to be aware of the movements of their animals and their characters so we saw Otter carefully cleaning her whiskers, a ponderous Albert, a strutting and threatening Chief Weasel, and a Toad who was able to do wide ‘frog-legs’ plies.  The acting area and its entrances and exits were used effectively and for the most part groupings were well spaced.  Only once did I feel there was a moment, with all characters onstage, that the ensemble took up the overly familiar U-shape.  Just angling the bodies a little would have avoided it and may have been down to the less experienced cast members falling into their default.  The pace never flagged, with smooth scene shifts swiftly carried out by the players.  The movement that accompanied the songs was delightful, interpreting the wording in a comical way and executed well by all, and the brawl was neat and effective.  I didn’t spot a microphone and so it is a great tribute to say that after my ears tuned in (a bit like listening to Shakespeare) I barely missed a word.  The cast did a sterling job in battling the elements following your brave decision to go ahead on a night when forecasts were formidable.  I loved every minute of this gloriously produced classic story.  

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