THE FIREWORK MAKER’S DAUGHTER

Polka Theatre

★★★★

“The final pyrotechnic display prompts a roar of delight from children and cheers from adults”

In this spirited Polka Theatre production adapted from Philip Pullman’s cherished novel, audiences are ushered into a world of spark and spectacle from the very first moment. The stage opens delicately—a miniature puppet sheltered beneath a toy umbrella, accompanied by the strikingly authentic sound of fireworks crackling to life. It’s an intimate and sensory invitation into Lila’s blazing quest.

We follow the determined Lila on her journey to become a Master Firework-Maker like her father. Along the way, she conjures a “golden sneeze,” faces down demons, and navigates a landscape where sound and light are seamlessly intertwined. Tika Mu’tamir brings a compelling presence to Lila, anchoring the narrative with conviction. She is joined by Lalchand (Chand Martinez) and Chulak (Jules Chan) and the talking white elephant Hamlet—a puppet so exquisitely crafted by Maia Kirkman-Richards that it feels almost magical in its realism.

Yet, not every element ignites with the same intensity. The adaptation remains rigorously faithful to Pullman’s text—at times to its detriment. Scenes unfold in linear succession, mirroring the book’s structure so closely that the dramatic pacing occasionally falters. Expository dialogue, particularly in the first act, feels protracted, dampening the story’s momentum and testing the engagement of younger audience members.

Visually, however, the production is consistently arresting. Anisha Fields’ set and costume designs are richly textured and evocatively detailed, especially within the mysterious jungle scenes. One standout sequence—the Elephant Parade—is rendered through shadow play and circular lamps, enhanced by Ruth Chan’s wonderfully ironic and inventive score. It’s a moment that showcases the creative team’s ability to translate Pullman’s imagination into potent stage imagery.

Jonathan Chan’s lighting design deserves praise; the fireworks are rendered with such brilliance and theatrical flair that they genuinely feel like high-stage magic. The final pyrotechnic display prompts a roar of delight from children and cheers from adults—an emotional, visually breathtaking climax that resonates long after the lights come down.

The five-strong cast performs with admirable versatility, transitioning nimbly between roles. Among the ensemble, Ajjaz Awad brings a commanding presence to the talking elephant Hamlet, while Rose-Marie Christian delivers a scene-stealing performance as the eccentric Auntie Rambashi. Still, certain characters—notably Hamlet the elephant—feel underused. The puppet’s vocal delivery is rushed, leaving too little space for its stunning visual presence to breathe and enchant.

Directed by Lee Lyford, the show reveals that the three essential gifts for any firework-maker are talent, courage, and luck. At its heart, however, it is Lila’s friendships and the love that surrounds her which truly ignite her journey. While the production captures this message with warmth and technical polish, it would benefit from a bolder editorial hand—trimming dialogue-heavy sections in favour of more physical storytelling and visual invention.

Ultimately, this production proves that the most dazzling fireworks are not just those that light up the stage, but those that ignite the imagination—a testament to the technical magic of theatre and the enduring spark of its heartwarming message.