Oxford Union Debating Chamber

Friday 27th – Monday 30th November 2009; 7.30pm

“When the props were behaving themselves one could focus on the acting, which was of a particularly high standard.” Robert Holtom ★★★★★

“Sophie Duker and Will McCallum’s adaptation of Kenneth Grahame’s classic children’s story takes place in a strange juncture between childhood memory and urban reality.” Annabel James ★★★★★

Wind In The Willows ★★★★★

Review by Robert Holtom

Gentle breezes swirled themselves into powerful gales as the wind in these willows blew the audience members through an exhilaratingly physical and wonderful ensemble piece. This was a thoroughly ambitious production which combined a melancholic soundtrack, numerous lively dance numbers, an innovative use of props, and inspired character acting in order to recreate Kenneth Grahame’s classic children’s novel. However, whilst the pieces that made the whole proved interesting and exciting, the overall structure of the play at times seemed a little chaotic.

The play was performed in the Union debating chamber which provided a large amount of space for the various locations to be realised. These included Ms Badger’s comfortable den, Mole’s shabby hole (a shopping trolley filled with carrier bags and other rubbish) and the suitably ostentatious Toad Hall. Of course, ‘messing about on boats’ requires a river and this was a large blue tarpaulin that was pulled on and off stage. Again an inventive piece of staging but at times distractingly noisy and occasionally somewhat dangerous as it had a tendency to trip actors. However, it was the large cart that was the most versatile item on stage as it transformed from boat, to speeding motor car, to runaway train and back again with great effect.

When the props were behaving themselves one could focus on the acting, which was of a particularly high standard. Clearly much time and effort had gone into the perfecting of each character’s mannerisms ensuring that all were unique and fun to watch; from Ratty’s (Tom Bishop) manic bursts of laughter to Mole’s (Sam Lysons) continual squinting and fiddling with his glasses. Of particular note were Sophie Lewis, who played Badger as an indomitable but ultimately friendly creature, and Jenny Ross, whose frantically crazed ‘poop pooping’ Toad had the audience laughing on numerous occasions. Meanwhile, Annina Lehmann’s slick and lithe Otter flittered between menacing and playful. Alongside the cast were three dancers who graced the stage with fluidity and refinement; they acted as the winds in the willows, the rushing waters of the river and the menacing weasels who had ransacked Toad Hall. Perhaps the best scene of the play was when all the characters met on stage as the group of rag tag heroes, in a bid to reclaim Toad Hall, took on the weasels in a well choreographed and slapstick showdown.

It is always great fun to see student drama pushing new boundaries and experimenting with different material and this is definitely what this production did. However, whilst the vision was clear it was not always successfully enacted as the space and objects often proved difficult to work with, as did the somewhat sporadic acoustics of the debating chamber. Nevertheless, all the ingredients of a great play are there just slicker set changes and a greater awareness of space are needed to ensure that the production can reach its full potential. As for the cherry on top, a wholesome take home moral; that even the most oddly eclectic group of woodland creatures can team together to do great things, much like the cast and crew behind this very enjoyable play.

Wind In The Willows ★★★★★

Review by Annabel James

This play is wonderful. If you want to see picture book meets fairy tale meets toy-box meets wendyhouse meets Alice in Wonderland meets The Secret Garden meets cake icing meets carnivalesque dreamland, you should go. In fact, if you don’t care for any of those, go for the riotous antics the cast get up to in the Union Debating Chamber. It’s not every day a badger and toad are practically engaged in fisticuffs atop the President’s chair.

Sophie Duker and Will McCallum’s adaptation of Kenneth Grahame’s classic children’s story takes place in a strange juncture between childhood memory and urban reality. Entering the Chamber is like walking into a circus with no boundary between audience and ring. Geoff Hall’s sound design establishes the atmosphere well: the simple loops of dreamy melody are enchanting. The set design is described in the programme as ‘anarchic’, and it certainly turns the propriety of the Chamber on its head, filling it with bright colours, twee hand-painted signs and old-fashioned pianos. The world of the river animals’ adventures is both quirky and quaint: a badger burrow is somewhere to drink tea and fall asleep in an armchair.

As for the characters themselves, this is a neat and flawless cast. Sam Lysons as the endearing Mole, uncertainly venturing from his underground dwellings at the start of the play, is thrown into relief by the quick movements and harsh laughter of the amiable Ratty, played by Tom Bishop. Bishop’s physical characterisation was highly developed and unwavering; he had a nervous twitchiness that was perfect. Sophie Lewis as Badger and Jenny Ross as Toad brought great comic energy to their performances. Both had dynamic facial expression and embraced the childlike silliness of their roles with lots of energy, gambolling around the Chamber like revellers at a picnic party.

The show manages to incorporate distinctly modern props but retain its rose-tinted view of the English countryside. Mole’s hole is transformed into a mobile explosion of bubble wrap and wiring, amidst which he sits furiously tapping at his computer; trees are cardboard cut-outs attached with police tape to wire fencing. In contrast to this, Toad romps about in tweed suits and frilly dresses; bright splashes of paint liven up motorcars and boats.

A few first night prop glitches did not detract at all from the magic of this performance. It is a reminder of the fun of make believe; the circus makeup, paint box scenery and extravagantly slapdash set are not meant to be realistic, but spill over like a stuffed dressing up box. The sheer inventiveness of it all is great: ballet dancers become water nymphs, water nymphs are suddenly stoats in fur hats drinking champagne. The collaborative development of this piece between directors and cast certainly delivers the ‘off-the-wall spontaneity’ it promises. Easily the best thing I’ve seen at Oxford all term.