Wind in The Willows

On entering the auditorium we were greeted with a cleverly designed set with the curved legs giving the illusion of depth. The show opened with the widest smile from Portia played by Katie with the rest of the cast joining her for the English countryside opening number.

Mole played by Richard Granger and Rat by Joseph Walker together showed their developing friendship and harmony through the river scene. The characterisation and quality of their singing shone throughout the performance.

As the show evolved the other characters came to life. Andrew Stansall , the loud and larger than life Mr Toad, showed his numerous talents in performance and song, Steve Mather who showed all his many years of stage experience with a powerful portrayal of Badger.  Mrs Otter, Danni Birks-Hibbert ,the anxious mother showing her maternal side and a lovely clear voice ,along with Chief Weasel Stuart Ogden and Lesser weasel, Andy Hibbert  both depicting their very mean streaks with strong voice.They were joined by Sheryl Stoat , Alice McKenzie,the horse ,by Bev Walker,the magistrate by Pete Lane, Gaolers daughter , Louise Walker, Car Driver , John Crowther, and Barge Woman, Debbie Mather all giving strong and excellent performances, not forgetting the trio of swallows, Louise, Emily and Beth. 

I thoroughly enjoyed some of the numbers within the production, with the stand out ones to me being The Open Road, A Friend is Still a Friend and The River. 

The multi talented main cast were backed up by a strong ensemble, and how lovely to see all ages on stage taking cameo roles solo singing even if only in some instances in short sections . The future of theatre being so well encouraged by the youngsters in this production.

The orchestra were very well led by Ray Gallagher, the movement ,shaping and spacing of the ensemble numbers ,along with clear direction of the production, was in the more than capable hands of Claire Harriott. She certainly knows how to get the best out her cast.

The whole production was enhanced by the well designed and dynamic set and cleverly built props.

Credit must go to Paul Minott for juggling the use of 24 microphones and Tom Dyson completed the staging with the very professional lighting effects.

Compliments must go to all the unseen teams providing costumes, make up and other necessary requirements of this production.

Congratulations to all involved with this production.

 

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