Tag Archives: Toby Olié

“101 Dalmatians” at the Regent’s Park Open Air Theatre

While adults like lots of shows that are aimed at kids, giving children’s theatre a broad appeal isn’t a necessary condition for praise. This new musical from Douglas Hodge, based on Dodie Smith’s book, deserves plenty of stars but is aimed so firmly at youngsters it doesn’t offer much to anyone over 12.

Even the average teenager could get restless with the frantic energy in Timothy Sheader’s production. With Toby Olié’s strong puppetry and Colin Richmond’s shouty set, the feeling of a cartoon or Saturday morning TV show fills the stage. If you’re as old as I am, you might end up with a headache.

Which is not to say that the show shouldn’t earn your respect.

There are clever lyrics and jaunty, if not particularly memorable, songs. A stronger second half includes good numbers for children in the cast. It just isn’t a soundtrack you would want to listen to at home. Johnny McKnight’s book (from a stage adaptation by Zinnie Harris) is a touch too crammed and could move quicker – but it is fun.

There’s a great villain too, of course, in Cruella De Vil. Updating the furrier’s best friend into a social media influencer is a great idea. Willing to risk “eternal Dalmatian” in hell to get a coat of puppies is a pun that was the highlight of the night for me. Kate Fleetwood takes the role (and a pair of very high-heeled boots) in her stride and gives a performance to be proud of.

In short, there’s little to fault in the production. Cruella’s accomplices make a pair of nicely old-fashioned crooks for George Bukhari and Jonny Weldon. And there are appealing performances from the dog’s “pets”, i.e., their owners, played by Eric Stroud and Karen Fishwick. Singing for the dogs and being literally a part of the puppet means that Danny Collins and Emma Lucia get even more points. The performances are bright and bouncy; even addressing the audience is done with an eye on their age.

There is a reservation it seems fair to raise – the venue itself. The Open Air Theatre has a tradition of work for children but this gorgeous location doesn’t seem particularly well used. Howard Hudson’s lighting design further on in the show gives an idea of what we are missing. And it is late at this time of the year. With a 7:45 start time for a relatively long show, most of the target audience are well past their bedtime by the time they get home.

Until 28 August 2022

www.openairtheatre.com

“Goodnight Mister Tom” at the Phoenix Theatre

Goodnight Mister Tom arrives in London’s Phoenix Theatre on Charing Cross Road after strong reviews at Chichester and before embarking on a UK tour on 26 January. David Wood’s skilful adaptation of Michelle Magorian’s best-selling book about the relationship between a young evacuee and an elderly widower is a surprisingly challenging and dark tale that’s wonderfully theatrical and hugely entertaining.

Starting with Operation Pied Piper, in 1939, when nearly three million were evacuated from cities into the country, our hero William Beech is a troubled young boy from an abused home. His deeply shocking treatment at the hands of his own mother shoots through the sometimes sickly nostalgia of the piece to give it real bite. William is ‘billeted’ with a reclusive and curmudgeonly old man. It is, of course, their slowly warming relationship that makes Goodnight Mister Tom a tale of redemption for both of them.

The play’s two roles for children, William and his friend Zach, are both hugely demanding, and the youngsters performing on the press night, Ewan Harris and William Price, were impressive indeed, but praise has also to go to the creative teams and the adults in the cast who so skilfully support them. Angus Jackson’s clever direction, the clued-up ensemble who take on a variety of roles, and the clever use of puppetry from Toby Olié make Goodnight Mister Tom a slick affair. In the title role Oliver Ford Davies is marvellous and he has a rapport with his young co-star that will melt your heart.

Until 26 January 2013

www.atgtickets.com/phoenix

Photo by Catherine Ashmore

Written 28 November 2012 for The London Magazine