The Wind In The Willows

Oh what a naughty amphibian is Mr. Toad. This musical version of Kenneth Grahame’s much loved “The Wind In The Willows” was staged imaginatively by St. Cuthberts OADS. Supposedly based on the character of Kenneth Grahame’s son, Alistair, Mr. Toad is portrayed as truly incorrigible. Yet in this version, unlike the book it must be said, he does not learn from his mistakes or refrain from greatly upsetting his well meaning friends. So I suppose one of the messages that Grahame sought to convey is ignored in this version. Not that this really matters however. The final scene where Toad is now obsessed with aviation was a treat and a joke that worked well. The audience sighed with frustration and then laughed out loud as the biplane zoomed over the stage. It was a fitting end to such a good natured interpretation. 

There was so much to admire.  I am going to begin with recording my absolute appreciation of the costumes. They were all superb. I have no doubt many hours were spent sewing and cutting to produce them. My congratulations to Lesley Riley for her efforts.The story is unabashed in its respect towards Grahame’s love of the natural world in all its hues both animate and inanimate; an abiding passion of his. The opening number “Spring” was delivered with charming sincerity successfully establishing the mood for what was to follow. 

Blake Morris as Mole was a delight. Maintaining an impression of wide eyed wonder throughout. Blake’s poignant contribution to the evocative “A Place To Come Back To” in the second act drew signs of empathetic recognition from the enchanted audience. Equally impressive was Jamie Gane’s reading of Ratty. In truth it is this character that drives the story. Even when he hands over the leader's baton to Mr. Badger it is Ratty’s innate concern for his good companion, Mr. Toad, that is at the forefront of his intentions. We may come to admire and respect Badger, as we are expected to of course, but it is Ratty we really warm to.As Badger, John McNabb showed us a deep thinking wise character. His controlled sense of command and good sense was well played, assisted by his make up, costume and walking stick.  The naughty weasels, foxes and stoats, dressed as 1930s American hoodlums, were excellent in their ability to convey just enough sense of menace. The entire ensemble was well drilled in its movements by Janis Condon and Marina Murray. I really enjoyed their jumping up and down movements. Chief amongst them as the Chief Weasel Paul Cross was nothing short of outstanding. Lyndsay Pilkington as Mrs. Otter was equally comfortable in her role deftly taking the opportunity to draw us into her concern for her daughter played with just the right level of headstrong willfulness by Laura Wilkinson.There are many other characters as Toad goes about his adventures causing mayhem. The dual ensembles of Children’s Chorus and Adult Chorus are required to double and treble their portrayals of Hedgehogs, Engine drivers and other characters. All were charmingly crafted. “The Hedgehog’s Nightmare” stood out in its humour and deadpan playing. In fact all the songs, cunningly crafted to illustrate the story, were delivered with charm and sincerity and, most importantly, I could hear every word. The sets were excellent. Mr. Badger’s house looked comfortable and bijou. In fact all the elements that go to make a successful production were executed with complete assurance.

Robin Reid declared in the well presented informative programme that he was anxious to land the role of Toad. There are few roles where to grimace and weedle and overplay is essential. Mr. Toad must do all of these things. Robin was clearly enjoying every second of this liberating part for an actor who has the skill to carry it off. His Toad was outrageously wicked. Mick Dawson the Musical Director kept things moving along superbly.

This was a most enjoyable evening's entertainment. The direction was crisp. Congratulations to Lesley Riley and Janet Gilbert. You are a most accomplished duo.  

It is always a pleasure to meet the cast. Thank you for giving me the opportunity and thank you too for your sincere welcome, even if we did arrive only one minute before curtain up!  The Chairman's written welcome summed up for me what  the best principles of amateur community drama should be. “Friendship and Respect” . It is to St. Cuthberts enduring credit that they have so successfully fostered such values in their society for over 50 years.

PRM.

 

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