Review – Wind in the Willows

Review by Brian Godfrey on Adelaide Theatre Guide

Written and first published in 1908, Kenneth Grahame’s “The Wind In The Willows” is a classic of children’s literature and has been adapted many times for radio, television, film (live and animated versions) and the stage – including the original, written by Winnie The Pooh creator A.A. Milne (“Toad Of Toad Hall” in 1929); a Tony-nominated Broadway musical version starring Nathan Lane; and one authored by Alan Bennett.

OPUS have found a charming version written by Sue Langwade, with lyrics and music by Mark and Helen Johnson, to tell the adventures of the four riverbank animal friends Toad, Mole, Ratty and Badger. The script includes all the well-known parts of the novel, except (for some strange reason) the initial attack on Toad Hall by the weasels and stoats – a particular childhood memory for this reviewer.

The songs are tuneful and catchy (even though “The Chase-Chase” is set to Offenbach’s “Can-Can”) but just a tad too long and repetitive. This makes for a problem in Kyla Fava’s choreography, which tends to look loose and under-rehearsed. However, she has got the ‘feel’ right, with some nice touches added.

Looseness also shows in Stephen Popowski’s direction, especially in the area of voice projection – the cast are youths and youngsters and while some do quite well to project to the back of the huge Hopgood auditorium, the majority struggle (not helped by the overloud sound effects and backing track). Projection is something that a director needs to pay careful attention to – particularly in young performers.

That being said: the cast are wonderful. The chorus are vigorous and enthusiastic and work well together, but watch out for Jack Winters and young Master Personality Plus Tyson Fava in particular. If Fava doesn’t make the musical or cabaret theatre stage his own by the time he’s a young man, then there is no hope for Mankind – he just shines, especially as the Judge (or, as this reviewer likes to call him: The Wig That Walks). Patrick Edgley does well in all his various roles and shows good promise for the future.

Narrator Jean Milward has the right timber in her voice for storytelling, but really needs to lift her volume, as does Amy Barnett as Ratty; Barnett could also do with being more rodent-like in her characterisation. Jesse Moore and Alice Edgley give good, strong performances as Mole and Badger respectively.

But it is the energetic, exuberant comedy styling of Ashleigh McFadden as Toad that really makes this show shine. The action goes into hyper-drive whenever this hyperactive hopper bounds onto the stage. His style of slapstick is exactly what a young audience wants.

This version certainly wafts a wonderful wind of family entertainment through the willows down Willunga way.

Six Degrees of Separation Review

Review By Susan Ann Oldknow on TheatrePeople.com.au.

This is a very fine production of an intelligent, thought provoking play by John Guare.

It explores the connections between people, those “six degrees of separation” that are meant to exist between every person on the planet.

What connects a homeless African American youth and a wealthy New York art dealer or a suicide victim and the art dealer’s socialite neighbours?

Why should the art dealer’s wife feel so emotionally connected to a complete stranger?

The role of the African American Paul is played by Caucasian actor Sean Flierl.

Director, Harry Dewar, has chosen not to make Flierl up to look black and, after some initial adjustment, it does not seem to matter.

Flierl is excellent, with a fine understanding of his character’s twisted sense of self and a firm grasp on a script that is complex and challenging.

April Stuart, as Ouisa, is completely charming, delivering rapid fire banter with comic flare and bittersweet emotion with equal brilliance.

Lindsay Dunn, as her art dealing husband, Flan, provides a perfect foil for his wife and has his share of fabulous comic moments and emotional outbursts in another challenging role.

The leads are very ably supported by David Mitchell, Kristofa Cassano, Terry Crowe, Janet Jauncey, Myles Teakle, Amy Klar, Alica Edgely, Joshua Harvey, Scott Allen and Christopher Daw.

Teakle is particularly good as Trent and Cassano is fearless in the full frontal cameo required to shock the characters (and audience) out of their false sense of security.

Dewar’s direction is sensitive and the script is so complex that it could easily have become a quagmire were it not for the fantastic pace of delivery and some excellent staging.

Josh Smart’s staging design is great, with the use of projected images and scrims, although less ambient light behind the scrims before ‘lights up’ would be more effective.

There were a couple of very slight wobbles on opening night but overall the crew are to be commended for supporting a really great production.

The show starts slowly but soon becomes so engrossing, ninety minutes goes by in a flash.

(Be advised that there is no interval and no refreshments available.)

Go and see it. It is worth the trip out to the fabulously comfortable Hopgood Theatre.

James and the Giant Peach Reviews

Review By Laraine Ball

This interesting and unusual story written by Roald Dahl and adapted for the stage by David Wood, tells the tale of the adventures of James and how he ended up living in a house made out of the kernel of a giant peach in Central Park in New York with his friends Centipede, Ladybird, Grasshopper, Earthworm and Miss Spider.

Directed by Fiona DeLaine, this production was bright and appealing with an energetic and lively cast who all worked well together.  The chorus consisting of younger children also managed very well in their supporting roles mainly bringing on props and in some cases being the set (flapping the material making the sea waves, etc.)

Tom Bayford as James Henry Trotter told his story clearly and did an excellent job of involving the audience.  Sean Flierl as Centipede stole the applause several times with his enthusiastic portrayal as did Josh Smart with his lovely quirky character of the blind Earthworm.

Maryann Boettcher showed off her ballet skills as Miss Spider and had great fun as Aunt Sponge.  Alex Ogden made a gorgeous mean and spiteful Aunt Spiker and Kyla Fava did well as Ladybird.

Taking on multiple roles Alice Edgley filled in the gaps in the story along with Louise Pappagallo as the Tour Guide.

The sets designed by Kate Anolak were simple ones for house settings but the best part was the wonderful enormous peach that was flown in.

Children and adults alike thoroughly enjoyed this story and they seemed to be fully involved enjoying the interaction with the players making this an excellent holiday vehicle and also a lot of fun.

Review by InDaily

A lonely orphan brought up by his nasty aunties is given a handful of magic and told not to spill it. He does, of course, and gives the magic to an old peach tree. The most spectacularly enormous peach grows, filled with the most spectacularly enormous – and hilarious – bugs. Let the adventure begin!

Roald Dahl’s most beloved story is brought to stage as the Opus Performing Arts Community and Hopgood Theatre bring you James and the Giant Peach. This is community theatre, home-grown in Noarlunga, and you can feel it. There’s a kind and shared buzz in the air, but perhaps that’s because the cast was made up of raw youth, ranging in age from about seven to 23.

Whatever the reason for that buzz, I certainly enjoyed myself. I got to relive a classic from my childhood and pass it onto my own child, and I got to laugh and yell out as loudly as I wanted.

The costumes are simple and easy to understand for an audience of mostly children, brilliantly ensuring the theatre company’s budget goes far. The music is lively, obviously chosen to give the adults in the audience a few inside jokes. The acting? Spot-on! I especially love Maryann Boettcher as the nasty Aunt Sponge one minute and the graceful Miss Spider the next, and Josh Smart, who uses his body perfectly as the blind Earthworm.

There’s nothing wrong with this play, as far as community children’s theatre goes, so hats off to director Fiona DeLaine. And how good it feels to hop on a train, get out of the city, and enjoy some community theatre! – Until January 15