“the score is filled with wit, melody and emotion”
‘The Little Match Girl’, adapted from Hans Christian Anderson’s classic fairy tale is an enchanting musical running at the Tabard Theatre over the festive period. First performed forty years ago at the Orange Tree Theatre (under its original title ‘Scraps’), it was later adapted for television in the eighties featuring Twiggy and Roger Daltrey. That it is being revived now with the composer Keith Strachan directing is quite a coup, and testament to the theatre’s (and producer Simon Reilly’s) ever growing reputation for staging quality productions.
Set in a wintry, Victorian London, the ‘Little Match Girl’ of the title is out on the streets selling matches, and is not allowed home with her father until she has sold them all. It is a beautiful yet achingly sad tale, full of contradictions: the story paints a dismal picture of life for the poor in Victorian London, but it also carries a grim hope. We are plunged into this world as soon as we enter the auditorium. Mike Leopold’s steely set (complete with snow) is enhanced by Tom Huxley’s sound design – alternating between a cutting, cold wind and the hubbub of street markets and carol singers.
The real challenge for the writers is that the original story is a very slim one indeed. So fleshing it out into a full length musical is quite a task. Consequently the interest needs to hinge on the characters and the music. This doesn’t always succeed, but when it does, one is transported – the score is filled with wit, melody and emotion and the ensemble acting and singing filled with gusto that sweeps you along.
Recent graduate Emily Cochrane, in the title role, gives a very watchable and convincing performance. Waif like, quirky and vulnerable there are shades of a young Shirley Henderson about her. It is sometimes not easy to tell, though, whether the action is in her head or actually happening. The lines between her dreams and the reality are often blurred. In fact, overall, the production could have benefitted from a clearer distinction between the surrealism and the naturalism inherent in the narrative.
Likewise there could have been more light and shade in the musical arrangements. Though, saying that, there is a lovely simplicity to the songs which, to be fair, is probably the intention. With Musical Director, Richie Hart, almost single-handedly providing the accompaniment, there is a refreshing absence of trying to be clever. The lyrics, too, tell it like it is. The score notably includes the Ivor Novello Award-winning song ‘Mistletoe and Wine’ which went on to become a Christmas No.1 single for Cliff Richard. The musical highlights though are ‘Richman’s Banquet’ sung by Anthony Williamson with a manic dark humour (with a wonderful twist at the end), and Aimee Barrett (who also choreographs) singing the show-stopping ‘An Ordinary Life’.
As an alternative to the traditional Panto on offer, there is enough magic in this show to put you in the festive mood. The message is indeed worthy – that our imagination can give us comfort, solace and reprieve from so many of life’s hardships – but it’s a message told here in an entertaining and life-affirming way; complete with laughter, and maybe the odd tear too.
Nuffield Southampton Theatres, Curve and Lyric Hammersmith have announced that, following a successful UK tour, their production of Roald Dahl’s Fantastic Mr Fox will return for a second run at Lyric Hammersmith this summer. The production, adapted for the stage by Sam Holcroft, directed by Maria Aberg with original music by Arthur Darvill, runs at the Lyric Hammersmith from 26 July to 20 August, after it completes its national tour.
Fantastic Mr Fox at Nuffield Southampton Theatres. Jade Croot (Kit), Greg Barnett (Mr Fox) and Lillie Flynn (Mrs Fox). Photo by Manuel Harlan
Director of Nuffield Southampton Theatres, Sam Hodges said;
“I am very pleased that our hit production of Fantastic Mr Fox is coming back to London, following the last sell-out run. This is a terrific adaptation of a special story and this return to the Lyric marks a well-deserved finale to a successful tour.”
In a joint statement Curve’s Chief Executive Chris Stafford and Artistic Director Nikolai Foster said;
“We are thrilled that even more families and young people will be able to experience our successful co-production of Fantastic Mr Fox. Audiences across the country and internationally have all had a wonderful time watching this ‘fantastic’ Roald Dahl classic be brought to life live on stage.”
Artistic Director of Lyric Hammersmith, Sean Holmes, said;
“We are delighted to welcome back Roald Dahl’s Fantastic Mr Fox after its sell-out success here at the Lyric earlier this year. A great treat for all the family this summer”
“You know as well as I do: no-one outfoxes a fox!”
Boggis, Bunce and Bean, three greedy, smelly, horrid farmers hate the cunning Mr Fox.
Mr Fox is smart, clever and rather fantastic, but he doesn’t realise how determined the farmers are to get revenge. Can he hatch a plan to save his family and friends? Can they outrun the diggers and outsmart the farmers, and can rabbit shut up long enough not to give the game away?
Fantastic Mr Fox at Nuffield Southampton Theatres. Greg Barnett (Mr-Fox). Photo-credit-Manuel-Harlan.jpg. Photo by Manuel Harlan
Roald Dahl’s Fantastic Mr Fox is family fun at its finest. A juicy tale of greed, pride and the power of friendship which promises a Dahlicious theatrical feast with live music and songs.
Nuffield Southampton Theatres and Curve in association with Lyric Hammersmith present
Roald Dahl’s
FANTASTIC MR FOX
Adapted for the stage by Sam Holcroft
Directed by Maria Aberg; Designed by Tom Scutt; Music by Arthur Darvill
Lyrics by Arthur Darvill, Sam Holcroft, Al Muriel and Darren Clark
Sound Designer: Claire Windsor; Lighting Designer: Lee Curran
Movement Director: Ayse Tashkiran; Music Director: Richie Hart; Casting Director: Annelie Powell
Cast includes: Richard Atwill, Greg Barnett, Patrick Burbidge, Jade Croot, Lillie Flynn, Sandy Foster, Gruffudd Glyn, Richie Hart, Thomas Hewitt, Edward Hole, Kelly Jackson, Tanya Shields.
