“The cast of young performers are amazing, holding the stage and the attention of the children and adults in the audience alike.”
Once upon a time, a long, long, long time ago, while I was growing up I spent a lot of holidays in Italy. I’d seen the animated film but it wasn’t until I visited Pinocchio’s House in a small theme park in Rimini that I realised how well loved this traditional Italian story was. In Carlo Collodi’s classic tale I encountered a slightly more fable-esque version of the story, where misbehaving children feel real fear and encounter many dangers. I hope I’m not spoiling anyone’s fun when I say that the tale of Pinocchio starts out both wistful and sad, rampages through hope, fear and peril, but ends happily ever after!
Since those heady, hot summers the theme park has grown and expanded, and so have I. I’ve seen a few different versions of the folk tale over the years but hadn’t thought much about it recently until the opportunity to see the ‘all singing/all dancing’ production showcasing up-and-coming talent from The British Theatre Academy arose… so I jumped at the chance!
Condensed by Brian Hill, the play manages to keep the action moving without feeling hurried but doesn’t delve deep into the rollercoaster of emotion the story holds, however I will put that down to the 75 minute running time and the child friendly nature of the production.
Starting with shadow puppetry the story of toymaker Geppetto and the loss of his wife become almost a prologue, before the storytelling swiftly moves to real Geppetto (played by Martin Neely) on stage, lonely and wishing for a child of his own, he carves a puppet boy from wood. A puppet who can speak and move and hopefully become his family.
Wanting desperately to be human the boy, Pinocchio, reels from one bad decision to another, choosing adventure over his father’s wishes. He finds himself drawn to the livelier children of the town, then into a circus, before he is defrauded of all the money he has, sees his friends become donkeys and even ends up swallowed by a whale.
The Narrator of the prologue becomes the ‘Blue Fairy’ whose frequent encounters with Pinocchio ensure the story skips along fluidly, noting his tendency to lie and choose ‘fun’ over tasks, and she guides him to a moral conclusion: an unselfish act for the love of his father that will make him real.
The principal characters are very good; the slightly manic sideshow puppeteer manages quite a sophisticated performance, as do the sly Fox and the sneaky Cat con artists (the latter steals the show). Lizzie Rees plays the Blue Fairy/Storyteller and her very powerful vocals are wonderful but do at times dominate the rest of the voices in tone and talent, and therefore occasionally seem out of place.
The music by Neil Bartram is good and during the show’s ‘big number’, in which the whole cast fills the stage, the young ensemble dance in formation with gusto and obvious enjoyment (choreographed by Anthony Whiteman).
The cast of young performers (from the British Theatre Academy) are amazing, holding the stage and the attention of the children and adults in the audience alike. Their enthusiasm and confidence is infectious. The director does an amazing job organising a cast of approximately 200 that alters on rotation for each performance (there are 17 teams). Pinocchio himself is played by two actors as he is rarely off stage, leaving only Geppetto and the Blue Fairy as permanent, non-changing cast. I have worked in classrooms for many years and sat through many school productions – this is no mean feat from Bronagh Lagan!
The musical is fun and full of energy and a great way to spend a morning or afternoon over the school summer holidays. It’s short enough to not require an interval yet long enough to make the venture into Covent Garden worth the effort. The children in the audience certainly seemed transfixed, there was minimal fuss and talking in the stalls yet half of those watching were under ten years old.
An eight year old near me asked hushed questions about what would happen next as he wriggled with anticipation in his seat. Three children behind me sat in absolute silence taking it all in. Even a toddler sat through the entire show without anyone noticing.
Everyone applauded with appreciation at the end. A family group squeezed out of the row in front of me, Granny wiping teary eyes from the school play/children’s choir effect. A couple of 4-year olds in the front row left wide eyed and smiling.
“But is he really real now?” a chatty 7-year old asked everyone on the stairs on the way out. I widened my eyes and nodded slowly when he looked at me and he grinned.
“Chris Jenkins as Jon delivers every emotion perfectly”
Tick, Tick … Boom! is Jonathan Larson’s autobiographical rock based musical set in New York in 1990. Originally a solo work and then adapted posthumously for three actors, it looks at how Jonathan (Chris Jenkins) deals with turning thirty, rejection both of his work and by his girlfriend Susan (Gillian Saker) and his relationship with his childhood friend, Michael (Jordan Shaw).
Set intimately in Park Theatre 90, the audience is always very close to the action feeling at times as though you are actually sat in that perfectly styled Soho flat (design by Nik Corrall).
The show starts with Jon sat in his flat and a ticking sound which he states is not a technical fault – this turns out to be slightly ironic as the first part of the show was dogged by some sound issues with vocals drifting and being lost.
The accomplished cast work well together with Saker and Shaw also effortlessly handling half a dozen or so minor roles. Chris Jenkins is a very believable Jon with a warm and charismatic approach he delivers every emotion perfectly.
Musical numbers are accompanied by a strong four piece band led by Gareth Bretherton. Ranging from witty digs at New York’s social climbers in ‘Sunday’ to powerful solo ballads such as ‘Come to Your Senses ‘ (sung beautifully by Gillian Saker).
Inevitably, there are a few tunes that seem very ‘Rent’ like (which isn’t a bad thing at all) and there are other similarities too; the New York setting, artistic crowd and the shadow of AIDS. Yet this is a very different show to Rent, by its autobiographical nature, it feels more believable.
Apart from the sound issues and a wobbly chair threatening to topple Chris Jenkins into the audience (oh, and (geek alert) an out of place BT telephone handset in a 90s New York apartment) – this is a brilliant production of the lesser known Larson work. Bronagh Lagan’s direction, Nik Corrall’s design and Ben Roger’s lighting have brought a magic spark to the show making it ninety minutes that fly by leaving you wanting more.
Funny yet sad, powerful yet delicate, Tick! Tick! … Boom is one to see.
