The Wind in the Willows adapted by Alan Bennett

Technically this was an accomplished production; the sets had been well devised and constructed. This intimate Theatre has a small stage and the play requires many scene changes including the interiors of Rat’, Mole’s and Badger’s Houses, Toad Hall and the Riverbank. The play opens on the riverbank and had suitable rushes, bushes, branches and a large Ent-like tree, which turned out to be the masterpiece of the set. As it was rotated there were various flaps, which unfolded to create the individual houses, all beautifully decorated to the personalities and requirements of the animals residing there.  Besides the numerous locations there are several modes of transportation required, including a train. This company is particularly good at producing plywood cars etcetera, which can be ‘driven’ with the feet. All the sound effects were appropriate, subtle and well cued. The lighting had been designed paying careful attention to the changing times of day and season, and indoors and outdoors, with some lovely sunrises. Apart from the hedgehogs, who were in rather prickly looking all-in-one suits, others were in ‘normal’ clothes with tails attached to the back of skirts and trousers and ears attached to hats; with appropriate subtle makeup to enhance the characters. From the moment Moley appeared there was no doubt he was a Mole, with his flattened down, dark hair and large horn-rimmed spectacles. Ratty’s attire suggested a retired naval commander; Badger with his long black coat and white stripes; and then with his boldly patterned suit, with plus four trousers, rotund shape and green hair, an unmistakable Toad. The four main animals were instantly recognisable both in appearance and portrayal. The whole cast had been encouraged to use mannerisms appropriate to the animal they were portraying, including the Wild Wooders, with their gangster appearance. The portrayal of Albert the rather grumpy and put upon horse, was lovely, with all the snorting and foot stamping and clever timing to bring out all the humour of the character. I was a little disappointed with the general pace, particularly in the first act; people were not picking up their cues quickly enough and it was almost as if they had forgotten their lines. This was a shame as technically it was good; there was lovely characterisation; appropriate costumes and make-up; the singing and musical accompaniment were good. The children were well disciplined, responding appropriately to the action, speaking out well with good diction, and finishing with a lovely rendition of the Christmas Carols. This had been a team effort with everyone working together to bring a complex piece of theatre to this small stage. Director Judi Allen had worked hard with her cast to help them create well-rounded characters, in this Alan Bennett adaptation, which was enjoyed by the audience.

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