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.