Lynden’s Score: 3.5 Adventures
The Snail and The Whale is the award winning 2003 children’s book written by Julia Donaldson. The book was adapted into a stage play by the theatre company Tall Stories in 2012, began touring the Uk and now the world. The approach to this story is a little different to most adaptions. Rather than simply act out this short story and then fill out the time with songs and interaction with the audience (they do that as well), they have stepped back and told a story about a young girl’s love of this tale and the times she spent with her father, a sailor.
It’s a beautiful adaptation. The daughter’s love of her father and the time they play and reenact this favourite book together translates beautifully on the stage, reinforcing the image that she is the snail and he is the whale. Adding a further dimension to this interpretation is to have it narrated at times by an older version of the child as she looks back and witnesses the unfolding of the story. The performer who plays the older version of the girl also provides soundtrack and effects by way of the extraordinary use of her viola live on stage.
Which does bring me to a pet peeve of mine. There are no credits for the performers or creatives involved in this production. In fact this is common in children’s theatre from my experience. All other forms of performance art whether it be dance, theatre, opera or classical recital, credit the performers, musicians, directors, and designers. A quick look at most venues and most children’s theatre do not list the actors, and rarely the director. I cannot remember ever seeing credit for a lighting and sound designer. Yet these are just as worthy as their other artistic colleagues. In this case the simple set design worked wonderfully to tell the story and to produce moments of surprise from the young audience. A set also perfectly designed for touring. Credit should be given to the designer.
The female actor playing the older version of the girl created wonderful musical creativity with her viola (I hope i am correct in identifying this instrument there is nothing on the website about it although I did see another UK review that referenced the performer and their viola so I may be right). The performer playing the father had a lovely warmth with his daughter and shared a sweet dry humour with his audience. Standout was the performer who played the young girl. Innocence and infectious joy was woven into the performance so neatly that her charismatic performance will be remembered by her young audience.
I have not read this book (but its going to end up in my young sons library very shortly I expect) but I believe that all the words from the book are incorporated into this production its just the order and context are modified to suit the new context. It means young fans may be a little confused by what they are watching for a bit but should certainly enjoy identifying the familiar moments of the story (such as the young girl writing “lift wanted around the world” on her window when she wants to follow her father to sea).
There are moments when the production slows down a little and, at times, loses its young audience but it bounces back quickly and the interactive moments are embraced by the audience as well. The show is marketed to 4 years and up and certainly my 15 month old and those under 4 around me did struggle with focus but such was the dedication of the performers and the stage direction, even my Very Young Reviewer had moments of total engagement. For those over 4 this will be a great introduction to the concept of reinterpreting a story as well as a fun revisit to an old favourite.
The show finishes at the opera House in a few days so hurry in to see it. Then it is on its way to Hong Kong.
Lynden Jones, Theatre Now
