Tag Archives: Sarah Wright

THE CREAKERS

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Queen Elizabeth Hall

THE CREAKERS

Queen Elizabeth Hall

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“Gather up your kids and have a good time at The Creakers!”

The Creakers is a musical version of Tom Fletcher’s much loved children’s book of the same name. It’s about a group of kids who have to rescue their parents from a sinister world lurking below their beds. It’s a refreshing change from all the overly familiar panto fare on offer on London stages at the moment. As musical adaptations go, however, The Creakers fails to capture the magic of its original material. That’s not because it isn’t a talented production at the Queen Elizabeth Hall on London’s South Bank. But this version is a cautionary tale in how difficult it can be to adapt a brilliant story in book form, for the stage.

Set in Whiffington, a town with a waste disposal problem as its name suggests, The Creakers tells us about Lucy, a girl who is β€œdifferent” though we are never told exactly how. Her single Dad is also the town’s rubbish collector, which adds to her problem of social acceptability. Most of the first act of the musical is about establishing the characters in the story, with frequent references to the social pecking order. There’s also a scandal brewing about the rubbish. The Mayor of Whiffington has decided to get rid of the overflowing rubbish by dumping it in the ocean. This is the inciting incident that sets the main story of The Creakers in motion. It turns out that a bunch of mysterious creatures called the Creakers depend on that rubbish for their food, building supplies, and even for their creativity. At night the Creakers emerge from under children’s beds, and feast on the mess and debris that kids (and their parents) have left lying around. Deprived of their sustenance, the Creakers take revenge by kidnapping the parents of Whiffington. Lucy and the kids have to figure out how to get them back.

It’s a good story, and it plays on childhood fears that everyone, child and adult alike, can identify with. The sustainability theme in the accumulating rubbish is a bit trickier, but from a staging perspective, it gives an imaginative set designer and costume designer lots to work with. Andrew Exeter and Ryan Dawson Laight take full advantage. But the rubbish is also a distraction from the main action. That’s Lucy’s goal of extracting the parents from the underground world of Woleb. (Yes, I figured it out.) And it takes the whole of the first act of The Creakers to get to the point where we finally meet these wonderful creatures, and the show takes off.

Despite the slow moving first act, and energetic songs that don’t always advance the action, The Creakers will succeed in winning you over by the end. The performers give their all to the many different roles they are called on to play, and that includes manipulating the puppet Creakers (designed by Lyndie Wright who knows everything there is to know about puppets.) Tom Jackson Greaves manages both the direction and choreography with flair in a space that is really a concert hall, and not a theatre. The small band produces a big sound with the superior acoustics of the QEH, and it was a treat to actually see them in the second act. Lucy (Eloise Davies) and her friends Ella (Iona Fraser) and Norman (Ally Kennard) are the main movers and shakers in the show but there’s a wealth of talent to see in minor roles all undertaken by a seamless ensemble.

If you’re wondering whether you can risk taking your child to a show that deals in accumulating rubbish and monsters lurking under the bed, have no fear. There’s a guaranteed happy ending. And no one will be surprised to discover that the Creakers are, in fact, the Save the Planet warriors we have been waiting for. As one satisfied customer remarked β€œI won’t have a nightmare tonightβ€”I’ll have a funmare!” So ignore all the dramaturgical quibbling above. Gather up your kids and have a good time at The Creakers!



THE CREAKERS

Queen Elizabeth Hall

Reviewed on 27th December 2024

by Dominica Plummer

Photography by Pamela Raith

 

 

 

 

 

 

 

Recently reviewed at Southbank venues:

DUCK POND | β˜…β˜…β˜…β˜… | December 2024
KARINA CANELLAKIS CONDUCTS SCHUMANN & BRUCKNER | β˜…β˜…β˜…β˜… | October 2024
JOYCE DIDONATO SINGS BERLIOZ | β˜…β˜…β˜…β˜… | September 2024
MARGARET LENG TAN: DRAGON LADIES DON’T WEEP | β˜…β˜…β˜…β˜… | May 2024
MASTERCLASS | β˜…β˜…β˜…β˜… | May 2024
FROM ENGLAND WITH LOVE | β˜…β˜…β˜…Β½ | April 2024

THE CREAKERS

THE CREAKERS

THE CREAKERS

 

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TREASURE ISLAND

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Royal Lyceum Theatre

TREASURE ISLAND at the Royal Lyceum Theatre

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“They are as talented a bunch of pirates as you’re ever likely to see on the high seas”

This year’s holiday season offering at the Lyceum Theatre is an adaptation of Robert Louis Stevenson’s story of piracy on the high seas, and buried treasure. Adapted for the stage by Orkey based writer Duncan McLean, and directed by Wils Wilson, a talented cast of six launch a modern version of Treasure Island set in Leith, in a home for β€œreformed pirates.”

Scottish writer Robert Louis Stevenson’s classic tale, written in the nineteenth century, has been adapted countless times for film and television. These are the obvious choices of media for a story that ranges across vast distances, and with a large cast of memorable characters. By modernizing Stevenson’s story, McLean tackles both the difficulty of adapting Treasure Island for the stage, and reducing the number of characters to a manageable size. In a home for β€œreformed pirates”, we meet a contemporary version of the boy Jim Hawkins, who has been left in charge of a bunch of unruly pirates. To pass the time, they tell a story of their swashbuckling days. The cast of six take on various roles, including pirates, a castaway, Jim’s mumβ€”and let’s not forget the puffin. McLean has cleverly updated Long John Silver’s iconic parrot to a bird well known to Orkney Islanders. The puppet puffin plays a major role. This version of Treasure Island is presented in a dramatic form that will be familiar to fans of Kneehigh Theatre. So there’s plenty to look at as the cast deftly goes about transforming the space on stage. From a pirate β€œhome” to a ship at sea, and the ultimate destination, a β€œtreasure” island, the cast are constantly on the move, and that includes climbing up and down a variety of multi-purpose ladders.

The cast themselves are very representative of a modern theatre company. The role of Long John Silver has been transformed into Lean Jean Silver, and Amy Conachan brings all of Silver’s memorable villainy to her interpretation, as she wheels herself nimbly around the stage. She has a lovely singing voice too. Jim is played by Jade Chan, and the rest of the company Tim Dalling (Ben Gunn), TJ Holmes (The Laird), Itxaso Moreno (Billy Bones) and Dylan Read (puppeteer for The Puffin) not only act, but sing and play a variety of musical instruments. They are as talented a bunch of pirates as you’re ever likely to see on the high seas. Set and costume designer Alex Berry has made an equally versatile creations for the actors to play in. Tim Dalling’s compositions range from hearty pirate songs to plaintive ballads. And the puppet designers, directors and makers (Ailsa Dalling, Sarah Wright and Julia Jeulin) have created a delightful puffin who will charm audiences of all ages.

In spite of the updates, though, McLean’s adaptation falls short. ItΒ is too long for the slender premise of telling stories to prevent pirates from backsliding into their piratical ways. There is too much of an assumption that the audience is familiar with the novel. And it’s true that Long John Silver’s parrot, β€œX” marks the spot, and any number of phrases from Stevenson’s classic novel have passed into common usage. Though these days, audiences are more likely to associate β€˜β€œX” marks the spot’ with Indiana Jones, rather than Jim Hawkins. This version of Treasure Island compresses the plot, as it has to do, given the length of the novel, but not in a way that clarifies the story. Moving the action to Scottish locations doesn’t help all that much. McLean’s Treasure Island is still Jim Hawkins’ story, but Jim himself has been transformed from a boy in search of a father figure after his own has died, to a boy who has to take over running his absent mother’s home for reformed pirates. Somehow, it’s not quite the same.

Treasure Island is a bold choice of a show for a theatre wishing to move away from more conventional Christmas fare, but audiences looking for something that celebrates the holiday spirit may feel that this show would be better saved for another time of year.


TREASURE ISLAND at the Royal Lyceum Theatre

Reviewed on 29th November 2024

by Dominica Plummer

Photography by Jess Shurte

 

 

 

 

 

 

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CINDERELLA | β˜…β˜…β˜…β˜… | FESTIVAL THEATRE | November 2024

TREASURE ISLAND

TREASURE ISLAND

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