Whistle Down The Wind

Whistle Down the Wind is a challenging production that amateur theatre companies rarely tackle, largely due to its weighty themes. I'll admit, it’s not typically one of my personal favourites, as it explores uncomfortable storylines that demand a respectful and nuanced touch. But when done right, it leaves you reflecting on the innocence and kindness we seem to lose over time. After this performance, I haven't stopped thinking about the show's layers, and that alone is a testament to the success of LTC's production.

With any Andrew Lloyd Webber musical, great storytelling is essential – and this cast rose to the challenge with vigour and grace.

Mia Mejias, as Swallow, was utterly captivating. It’s a complex role, as we watch Swallow’s journey from a child’s innocence to grappling with the harshness of the world. Mia balanced this beautifully, preserving Swallow’s purity while subtly conveying her awakening to life’s cruelties. Her performance was not only emotionally compelling but also vocally impressive, making her a joy to watch.

There were two sets of children cast, and on this evening, I had the pleasure of seeing Team Blue Jay. Millie (Brat) and Ethan (Poor Baby) were both outstanding. Performing with a Southern drawl isn’t easy, yet they made it look effortless. Their brilliant characterisation added humour in an otherwise serious show, and they each displayed strong vocal talents.

Bradley Green, as Boone, the children’s widowed father, gave a heartfelt performance. His soulful vocals stood out as one of the highlights, bringing a raw, emotional depth to the character.

The remaining members of Team Blue Jay – Dotty (Winnie), Alice (Elizabeth), Francesca (Vikki), Maya (Louise), Marshall (Clarence), Freddie (Louis), India (Jackie), Izzy (Lavonne), Tiva (Ramon), Alex (Curly), and Abigail (Charity) – all delivered with gusto. Their energy and harmonies were a joy, and they brought life to every scene they were in.

Sean Hynes (Amos) and Cerys Wilkin (Candy) injected an upbeat energy with numbers like "Tire Tracks and Broken Hearts." Cerys’s rock belt was unforgettable, and Sean’s vocals, as always, were top-notch. It was refreshing to see him in a more serious role.

Joel Arnold’s portrayal of The Man was exceptional. This role demands a challenging juxtaposition of vulnerability and manipulation, and Joel handled it with finesse. His character arc – from a hardened figure to someone grappling with his own moral compass – was both haunting and convincing. Vocally, Joel’s performance was equally powerful, tackling the difficult score with skill and heart. He let the children believe he was Jesus to protect himself, yet we saw glimpses of goodness that made us question right up to the end. Joel’s performance drew me in, making me wish for his redemption.

The ensemble were also outstanding delivering powerful vocals, which were polished and harmonious under Alex Woods direction.

The set was visually engaging, with continuous changes that kept the pacing brisk, though it could feel a bit clunky. Lighting was spot-on, adding the perfect mood to each scene, though sound issues – particularly missed mic cues and balance inconsistencies – were noticeable. When children's solos get lost due to these glitches, it’s particularly frustrating for the audience.

Special effects, like the steam train and barn fire, added an extra layer of immersion. Some props, however – particularly the snake and kittens – didn’t quite look realistic enough, which slightly lowered the quality of certain scenes, even though they were essential to the story. Costumes were generally effective, though a few items of modern clothing stood out and didn’t convincingly pass for the 1950s setting.

Overall, directors Lewis Griffiths, Gemma Carracher, and Tim Cater should be immensely proud. For Lewis, a former Clarence in the West End production, this must have been a full-circle moment as he took on the mantle of director for Whistle Down the Wind. It was, without a doubt, a labour of love that paid off, leaving us all reflecting on the themes of innocence, faith, and humanity long after the curtain fell.

Natalie Hills

District 10

 

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