The Wind in the Willows

The musical is pleasingly faithful to Kenneth Grahame’s much-loved book, from Mole escaping his spring-cleaning to the weasels being driven from Toad Hall.  There are some catchy tunes in the score, and some numbers – such as “The Open Road” – have really strong hooks.  Musical accompaniment was provided on a pre-recorded track: the company of young people in school years 4-8, presenting the show after a couple of workshops and a week’s intensive rehearsal, had little difficulty keeping in time with this.  The ensemble unison singing was generally very strong with only the occasional awkward interval catching a few people out, while several principals demonstrated that they already have the ability and control required to deliver a song to powerful effect.

It was clear that the performers had had some good acting habits drilled into them – notably in their use of gestures.  Most of the principals employed a limited range of arm movements in very deliberate ways – but better this than allowing young actors to windmill their arms continually!  Dialogue was clearly enunciated; everyone appeared to know their words really well, and cues were hit promptly.

The choreography was appropriately inclusive, with clear differentiation in its style and level of challenge.  The sweetly balletic field mice, many of whom must have been making their first appearance on a stage as big as this, had rather less demanding routines than the generally older children playing the energetic and dastardly weasels, but all the dances had been well-drilled and were executed with impressive spirit and precision.  Many of the animals were brought to life through clever stage movements, from the scampering, squeaking mice to the hesitant, road-crossing hedgehogs and the prim horses hauling Toad’s caravan.

The animal characterisation was brilliantly supported by the costume design, which combined stylised human outfits with key animal features, such as ears and tails.  The overall effect was both charming and illuminating.  The costumes were complemented by excellent make-up  – pointing up key details like mouth shapes while stopping short of the full face-painted look allowed the children’s own expressions to shine through.

“The Wind in the Willows” was the perfect piece for this young company to stage, with its clear narrative, ready characterisation, and broad range of opportunities for participation.  I might have expected a group such as Odyssey Juniors to have told the familiar story with energy and charm.  I did not expect them to tell it so well and to such a high standard, totally belying the ages of the performers and the amount of time they had had to prepare.  It was all rather joyous really.  I am sure that everyone involved will remember this production for a long time, as will those of us in the audience who were privileged to see it.

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