Wind in the Willows

Fresh from the news that ‘Freedom Day’ is approaching, Frodsham Players produced a brilliant production of Kenneth Grahame’s (adapted by Mike Kenny) Wind in the Willows.  It was my first time visiting this society who, according to the programme, have been producing plays since 1942.  They last performed this play back in 2005, with some of the original cast returning for this production, albeit in different roles.  This version was performed for the first time in the grounds of Castle Park, Frodsham, due to the uncertainty of the ever-changing Governmental rules, and what a wonderful backdrop it provided as Toad Hall.  Having the large house behind the actors meant that all of the sound reverberated from the walls back out to the audience which made it easier to hear the action.  Of course, there were more opportunities to use the steps or use levels to showcase the riverbank or incorporate lighting to enhance the visuals, but it didn’t really need it.  The director, Iain Bennett, kept the pace of this piece very well, ensuring that his clever direction meant that scene changes were minimal, and the story and characterisation was always at the forefront.  In the programme notes, Iain talks about interaction between movement and meaning and interaction between people and I found that this was very true in Iain’s direction.  Having the actors move about the stage/playing area and around the audience meant that our focus was ever changing and that all members of the audience were forced to watch and listen to the action; this also helped with the swift scene changes.  I felt that Iain’s direction was great.  It was clear that a lot of time has gone into characterisation and projection.  Despite all of the difficulties of performing outdoors, I could hear every word from the main cast and the story and characterisations were clear.  I also felt badly for the production team as, due to the coronavirus, they were forced to have understudies for every role to ensure this production went ahead.  This meant double rehearsals and ensuring everyone stuck to their bubble etc – a logistical nightmare!  Thanks to their efforts, each cast get to showcase their skills for three shows each, which seems fair and a thank you for their hard work! 

I really enjoyed the added live music to this piece, which added a lovely background and layer to the action.  Some of the rhyming parts of the play could’ve used more rehearsal (with the timing) but the musical director, Andrew Rudd, did well to try and keep up with some of the actors who struggled.  A special mention has to go to the costume and props team who showcased their obvious talent throughout.  I especially loved the costumes for Ratty, Mole and the use of the riverboat, mobility scooters for the cars and the barge etc were a stroke of genius!  Excellent work Clare Prebble, Ian Lancaster & Chris Burrows for your set and props, as well as Merial Cashin & Kim Shepardson for your work on costumes.

Murray Milligan played the role of the stern Badger.  Murray brought gravatas to the role and used his voice and physicality in a way that helped convey the character.  He embodied the role very well and was very well cast.  His Scottish brogue suited this character well and Murray showcased excellent projection!

Ian Lancaster portrayed the water Rat (Ratty).  Ian had a lovely showman like quality to the role and commanded the audience from the opening scene.  His was a great storyteller and used his voice in a great way to showcase the text and portray character.  Ian was a very easy watch, and I knew the play was in very safe hands with him!

Mole was played by Pollie Shorthouse.  Pollie was a good storyteller too and she had a lovely rapport with Ian (Ratty).  Pollie was well cast in this role.  Although a little softly spoken, I could still hear all of the words.

David Leslie’s portrayal of the selfish Toad was excellent.  David embodied the character and just WAS the character throughout!  A fine example of how one should use voice and physicality to convey a role.  David has great comic timing and storytelling and was brilliantly cast.  For me, David is an ‘old school’ actor that younger actors could learn a lot from – an excellent performance!

Derinda Watson multiroled as the Weasel, as well as other characters.  Whilst I personally would’ve preferred a little more of a sinister take on the character, Derinda was able to showcase her lovely comic timing as the Bargee.  Carol Crooks and Sparki made up the other adult roles and were able to help move on the action.  Their projection was equally great as the others.  Well done to Isaac Bright, Nia Sconce, Cara Sconce and Rowan Bennett who made up the other roles of the Hedgehogs and Rabbits etc.

Overall, this was a great production that showcased the talents of their brilliant company of actors.  If this is the standard of what Frodsham Players can pull off within the guidelines of Covid then I cannot wait to return to see what they can produce next.  I sincerely thank Frodsham Players for their hospitality and with them all the very best for their future productions.

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