Wind in the Willows

Julian Fellowes’ adaptation of Kenneth Grahame’s classic tale is a joyous riot, and this is exactly what we were treated to over three sultry evenings in July. The Junior Production was so full of joy that the audience could not stop smiling, but it also contained moments of real tenderness and no little subtlety. A vast cast of over 70 eked all the magic and humour from their scripts and created something that was exceptional. 

Mr Toad (of Toad Hall fame) is a great comedy, panto-like, character. Zac Scarborough’s version was all of this: belligerent, blustering, loud, but also played with a real decency that made sure you were always rooting for him, despite his absurdity. Zac was superbly supported by the other leads, in particular the Caspers (Gell-Pauwels as Mole and Good as Ratty) who formed a lovely relationship that delivered a tender layer to the comedy.  

Of course, the story is also a triumph of innate goodness over the marauding stoats, foxes and weasels who take over Toad Hall during Toad’s unfortunate imprisonment. These last groups were at times menacing, but also superbly choreographed in their movement and dance. This enabled the show to be a wonderful spectacle but also to develop great characters. None more so perhaps than the leaders of the ‘underworld’: Nathan Isibor, a tour de force as the Chief Weasel, and Maddy Kirk as a dismissive and malevolent Sheryl Stoat. They were superbly counter-balanced by the wisdom of Ruben Turner’s Badger and a quirky Mr and Mrs Badger (Thomas Ketterer and George Wood). 

As ever the whole production sat in the envelope of a staggering set: the thrust stage dragged the audience into Toad Hall but also into the riverbank. This was complemented by brilliant lighting and a wonderful musical setting. The result is that the entire ensemble, nurtured by Mrs Kirk and Miss Hill, performed out of their skins, raising their games to rare heights. We come to expect this but we should never take it for granted. 

Edward Wesson