Tag Archives: Malinda Parris

THE ENORMOUS CROCODILE

★★★★

Regent’s Park Open Air Theatre

THE ENORMOUS CROCODILE at Regent’s Park Open Air Theatre

★★★★

“a fun and happy atmosphere in the perfect surroundings of the Open Air Theatre”

Even with continual rain – and a short stop mid show, as eight top notch stage crew mopped up the flooded stage for safety; The Enormous Crocodile is a snappy tuneful wonder.

This new musical based on the classic Roald Dahl picture book, on the whole stays close to the original story; taking the audience from the muddy shores of the Nile and through the treacherous jungle, as the dastardly enormous crocodile goes in search of a nice juicy little child for lunch!

As the audience arrives, there are bubble machines and recorded jungle noises, and animal roars and trumpeting, creating a fun and happy atmosphere in the perfect surroundings of the Open Air Theatre.

The cast appear in stunning headdresses whilst wearing smile inducing chest high fishing waders and wellington boots, as they jump into the river Nile with their firefly puppets. The colourful tropical jungle comes to vibrant life.

All the much-loved characters are played by the five excellent cast members, creating delightful puppetry with the fantastic puppets designed by Toby Olié, which often integrate into Fly Davis’ super clever set and costume designs.

Malinda Parris, in the titular role, stays as the crocodile throughout – with quick changes to the extended long tail. Starting with the full cast creating the tail, it then morphs into a fast moving long tailed go-cart with the actor upfront as she gyrates the croc’s humungous head and toothy mouth, belting out crocodile songs!

The enormous crocodile meets the farty, soon to be mud loving, Humpy-Rumpy Hippopotamus, played by the always brilliant Nuwan Hugh Perera. Onwards through the jungle the enormous crocodile meets Trunky the Elephant (Joanna Adaran); the cheeky monkey Muggle-Wump (Elise Zavou) and finally the comedic and delightful Audrey Brisson as the Roly-Poly Bird. The four jungle friends are disgusted that the enormous crocodile is wanting to eat a child – and decide they need to put a stop to him!

The arrival of the Jungle Juniors is a show highlight, as the silly teacher takes them on a jungle adventure. And in true Dahlian style the children “do what we are told not to do”, and once lost in the jungle sing a sweet brave song. The enormous crocodile tries to eat the children by pretending to be a coconut tree (genius set design), a seesaw, and after eating the teacher, the croc dons the teacher’s clothes in the awful reptile’s quest to eat the children!

A magical, if quirky, ending in space as the enormous crocodile explodes into the sun and sizzles up like a sausage – dead!

Maybe not quite as dark as Roald Dahl intended. Time for a celebration!

The tasty, if unmemorable, tunes come fast and furious, composed by Ahmed Abdullahi Gallab, book and lyrics by Suhayla El-Bushra, with additional music by Tom Brady, it’s a jam packed 55-minute show.

The Enormous Crocodile is directed by Emily Lim and co-directed by Toby Olié, with uncomplicated choreography by Vicki Igbokwe-Ozoagu. Musical director Máth Roberts on keyboard, is the only live musician on-stage, hidden in plain sight in a bird hide! The pre-recorded music band sounds great. Tom Gibbons sound design works seamlessly in the open air, and even though The Enormous Crocodile plays during the day Jessica Hung Han Yun’s lighting sparkles.

A croc of gold for younger audiences!


THE ENORMOUS CROCODILE at Regent’s Park Open Air Theatre

Reviewed on 22nd May 2024

by Debbie Rich

Photography by Johan Persson

 


 

 

Previously reviewed at this venue:

TWELFTH NIGHT | ★★★★★ | May 2024
LA CAGE AUX FOLLES | ★★★★★ | August 2023
ROBIN HOOD: THE LEGEND. RE-WRITTEN | ★★ | June 2023
ONCE ON THIS ISLAND | ★★★★ | May 2023
LEGALLY BLONDE | ★★★ | May 2022

THE ENORMOUS CROCODILE

THE ENORMOUS CROCODILE

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The Little Big Things

★★★★

Sohoplace

THE LITTLE BIG THINGS at @Sohoplace

★★★★

The Little Big Things

“The script may read like a Hallmark greetings card at times, but the show has all the hallmarks of a major hit.”

Being challenged in life is inevitable, but being defeated is optional. So runs one of the tag lines for Henry Fraser’s inspirational memoir published in 2017. Fraser was just seventeen years old when a tragic swimming accident on holiday in Portugal crushed his spinal cord. Paralysed from the shoulders down, he challenged and then conquered the unimaginable difficulties and, in doing so, has inspired others and taught invaluable lessons in how to seize life and adapt to a new way of living. But central to the story is the fact that he was never alone. The repercussions, reactions and unblinking support of his family and closest friends are unavoidably swept into the tidal wave of the drama. A real-life drama transformed into an uplifting, larger-than-life musical drama by Joe White (book), Nick Butcher (music and lyrics) and Tom Ling (lyrics).

The piece revolves around a dialogue between the two Henry’s: post-accident (Ed Larkin) and pre-accident (Jonny Amies). It is a love-hate, symbiotic relationship. A tug-of-war where the two are simultaneously struggling to teach each other how to look backwards and forwards. The chemistry between Larkin and Amies is unfeigned and naturally heartfelt; the necessary conflicts yielding much of the show’s humour and pathos. But the rest of the cast have their fair share too. Crucial to Fraser’s rehabilitation is physiotherapist Agnes, played with undisguised relish by Amy Trigg. Occasionally a little too pleased with the audience reception, Trigg is nevertheless a charismatic tour de force, graced with some of the best lines. Linzi Hately and Alasdair Harvey as the mother and father respectively both touch on the agony and the ecstasy inherent in the narrative. Particularly Hately as she looks back on her son’s early life during her standout solo number. ‘One to Seventeen’. The lyrics border on sentimentality but are pulled back by Hately’s honest and raw performance of the number.

“Fay Fullerton’s costume design is given its own catwalk during a gloriously surreal nightclub scene”

Elsewhere the score is uniformly upbeat, almost relentlessly so as if the messages need to be drummed home with a four-four backbeat and rousing chorus. The show stopping “The World is Waiting” heralds the interval but feels like the grand finale. One wonders where it can go from here, but the second act does open with therapeutic doses of comedy. And Fay Fullerton’s costume design is given its own catwalk during a gloriously surreal nightclub scene with a ‘Monopoly’ fancy dress theme. Later, as the characters race towards the dependable denouement, primary colours are the order of the day. It is brash and it is bold, and undoubtedly stirring, but we see the vivid rainbow of colours without really understanding the unseen shades of the spectrum. All of a sudden Henry Fraser is opening an exhibition of his artwork – painted just by using his mouth – yet the narrative airbrushes out the sweat and tears that were shed to reach that achievement. Fraser’s story is one of extreme triumph and hardship, but too often here it seems to be given an easy ride.

Nevertheless, it is a triumphant production. Luke Sheppard’s staging is impeccable, eschewing any kind of set, relying on lighting (Howard Hudson), innovative choreography (Mark Smith) and, above all, outstanding performances. It is a celebration of life. There is absolutely no room for negativity. At the heart of Henry Fraser’s hard-won philosophy is his belief that every day is a good day. The script may read like a Hallmark greetings card at times, but the show has all the hallmarks of a major hit.


THE LITTLE BIG THINGS at @Sohoplace

Reviewed on 15th September 2023

by Jonathan Evans

Photography by Pamela Raith

 

 

 

 

Previously reviewed at this venue:

Brokeback Mountain | ★★★★★ | May 2023

The Little Big Things

The Little Big Things

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