★★★

“The themes are beautifully dealt with in song”

Moominvalley in November is a musical homage to Tove Jansson’s much loved Moomin family. Most particularly it is based on her final book in which the Moomins themselves never actually appear.

It’s important to say that upfront because if you haven’t actually read this book (as a child I read and adored all the early ones) you – and any children you bring along – are going to be very disappointed not to see even one hippopotamus-like creature on stage. There is a slight exception to this, but that would be giving too much away.

What this piece is actually about is loss, resilience and rediscovery. The book itself, on publication, was hailed as a meditation for all ages (they all are) and “the wisest and most moving book about mourning that I have ever read” (Frank Cottrell Boyce). Bear that in mind as you go and see this.

The story centres around five very different characters – some of whom we have met in Jansson’s other books, such as Snufkin – who find themselves arriving at Moominvalley, just before winter. They arrive simultaneously, all seeking the comfort of the family for different reasons. All are devastated to find the family gone, not to return. Over the course of the next two hours they have to come to terms with this, learn about getting along with each other, and undertake their own transformation.

The choice by Hans Jacob Hoeglund (book, music and lyrics) to turn this tale into a musical, was absolutely the right choice. The themes are beautifully dealt with in song. Not all of them come off, but there are one or two that you will find yourself humming as you leave the theatre. The set (Lu Herbert) is suitably whimsical. Director and choreographer Amanda Noar extracts committed performances from the actors: Jane Quinn, Matthew Heywood, Stuart Simons, Izzie Winter, Martin Callaghan and Abigail Yeo. They are all fine singers and good physical actors; and the pace of the production never lets up.

Yet somehow, for all the energy – and a huge, talented, creative team – it doesn’t quite gel properly and comes over as chaotic. My theatre-going companion, who had no previous knowledge of the Moomin books (hard to believe, but there are some) was bewildered: she had no idea what was going on and found the characters unlovable. That is a serious fault: Jansson always handled oddness with brilliance and empathy. Throughout her books, readers are led to open their hearts to even the most weird and potentially repellent – think Groke, who gets a mention here. Jansson’s writing is celebrated worldwide, not just for its beauty but also because early on she showed the case for tolerance and understanding.

I suspect the team should have paid more attention to the reality that any stage production of a loved book must, ultimately, be able to stand on its own. This is a musical being premiered at Upstairs at the Gatehouse and has great potential. It needs a clearer narrative and tough filtering to warm our hearts and to open up the beautiful story to a new Moomin audience.

CROCODILE FEVER

Arcola Theatre

★★★

“The central performances belong to Tyler and Rooney. They are on fire.”

Crocodile Fever is a chaotic drama set in chaotic times about chaotic family relationships. Meghan Tyler’s play, first shown at the 2019 Edinburgh Festival Fringe, is enjoying its London premiere. It is set in a family household in Northern Ireland in 1989 – that is, in the midst of the ‘Troubles’, a euphemism for the violent conflict of the times.

Younger audience members (and even some not-so-young) might benefit from knowing something of the background and history of those times because there are references – for example the sinister memory of the ‘knock on the door’ in the night – that are easily missed yet will enrich understanding of the play.

What makes Tyler’s setting relevant are the underlying themes of oppression, abuse, dysfunctional sisterhood and casual horror. These are ably exploited by Arcola’s co-founder and artistic director Mehmet Ergan and his production team, and cannot help but recall other situations where these elements of war continue to be present. Altogether, however, it is hard to place the play neatly into a genre. Is it a metaphorical family drama, a black comedy or a grotesque absurdist play? Crocodile Fever defies categorisation, by intention.

The action opens in a pristine kitchen (set designer Merve Yörük deserves a mention) where pious sister Alannah (Rachel Rooney) is obsessively cleaning. She has tight control over her environment and wants to keep it that way, although we have early indications of a disturbed mind. Into this order, bursts Fianna (Meghan Tyler), out of a long term in prison and at the opposite end of the personality scale (apparently) to her sibling but wanting to renew their connection. She believes that their father died in a confrontation with the ‘paras’ (paratroopers) so is shocked to find out that he is, in fact, living: upstairs in the family home. Fianna is his long-suffering carer.

At this point any realism in the play starts to disintegrate, slowly but believably at first, and chaos takes over as the interaction between the sisters twists and turns helped by old songs, alcohol, quick fire dialogue and snatches of history that are hard to keep track of. We are on a track to horrible happenings. The father (brilliantly played by Stephen Kennedy) is the reptile in the attic and must be dealt with. His appearance towards the end of the first act is a shock. And from there on, there is a rapid descent of the action into gore and strange symbolism.

The central performances belong to Tyler and Rooney. They are on fire. Rooney, in particular, shows an extraordinary range of comic expression (a touch of the Mrs Doyle?) and, despite the absurdism, is then convincing in her portrayal of release and disintegration. She doesn’t let the flamboyant acting of Tyler as Fianna hog the limelight, as could so easily happen.

Yet, somehow I felt there should be a magnetism exhibited in the sister relationship (whether repelling or attracting) that somehow failed to materialise. It may be that the play, in dealing with so much, lacks a central focus and resolution. This could leave one feeling dissatisfied at the end; nevertheless, the overall impression is of a drama that is tackling big subjects in an innovative way so, if it loses its way a little, well isn’t that what happens in times of terrible conflict?

MOOMINVALLEY IN NOVEMBER

Upstairs at the Gatehouse

★★★

“The themes are beautifully dealt with in song”

MOOMINVALLEY IN NOVEMBER

Upstairs at the Gatehouse

Reviewed on 28th October 2025

by Louise Sibley

Photography by Simon Jackson

Previously reviewed at this venue:

MOOMINVALLEY

MOOMINVALLEY

MOOMINVALLEY

CROCODILE FEVER

Arcola Theatre

★★★

“The central performances belong to Tyler and Rooney. They are on fire.”

CROCODILE FEVER

Arcola Theatre

Reviewed on 23rd October 2025

by Louise Sibley

Photography by Ikin Yum

Previously reviewed at this venue:

CROCODILE FEVER

CROCODILE FEVER

CROCODILE FEVER

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