★★★★☆
Four Stars
I’ll not deny that I was worried before I set out to the Master’s Garden of St Peter’s to see a preview of that epitome of nostalgic childhood memories, The Wind in the Willows. What if the characters weren’t up to scratch? What if the costumes fell below the standard of my beautifully ornate book-version? What if the Weasel just wasn’t frightening enough? I needn’t have worried. This new adaptation of a classic, performed in the picturesque and sunny college gardens is enough to delight any theatrical cynic and establish firm faith in the good old plot-driven adventure.
From the very beginning, as Toad, (Chris Connell) bounces onto the stage in red-checked trousers, delightfully camp and with a voice to match even the most flamboyant moments of a Michael McIntyre stand-up, I settled back in my seat, prepared for an enjoyable few scenes. All of the cast were highly competent; but the next animal to really shine was Badger, (Dom Wood), who, complete with waistcoat, watch chain, pipe and a fascinatingly animated beard, encapsulated all that is great and quirky in the stereotypical Oxford don.
Even better, whilst playing the Judge much later in the play, Dom Wood enacts a totally different physicality, so that although his costume remains identical throughout we have no trouble confusing him with his earlier role. In fact, all of the cast retain their utterly individual characteristics which mark out their personality and remind us of their animal form. Mole twitches and quivers in permanent indecision, Toad gambols about playfully, and the seductive and untrustworthy Fox shimmies on stage with what looks horribly like a dead animal around his neck, twirling an umbrella in a successfully Dickensian way.
A play performed outside is clearly a challenge, but director Stephen Hyde assures me that the natural fading light of the evening coincides helpfully with the seasons of the play; the dark wintery scenes will no doubt be atmospheric. In order to reproduce the many vehicles required in the plot, ranging from motor cars to caravans to trains, someone has come up with a whole host of ideas involving wheel barrows, painted cardboard and deckchairs. They aren’t yet in action two weeks before the show but are sure to be impressive if they come to fruition.
Even if the finer prop details are not yet totally sorted, I was surprised by how remarkably polished this show is, given the length of time still left to them. There are a few niggles to be worked out: the cast don’t have microphones, so I would advise sitting near the front to catch the odd witty aside, and the audience chairs aren’t raised so any of the more vertically challenged spectators should perhaps get there early and/or bring a cushion. But overall, keep your eyes peeled for when tickets go on sale for what promises to be a roaring success.
