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    Interview: When Willows Turn to Wilton’s

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    Piers Torday on adadpting Wind In The Willows

    This winter the wonderful Wilton’s Music Hall is hosting a family production of The Wind in the Willows – wait! No, it’s actually The Wind in the Willows WILTON’S! So maybe a slightly different revival of Kenneth Grahame’s classic novel? We thought we’d better have a chat with award-winning writer Piers Torday to find out what we might expect from his adaptation.

    Piers, you’ve got a bit of a history with Wilton’s: The Box of Delights was a big hit recently, and now you’re back with another classic story. What is it about the place that appeals to you?

     It’s the oldest working music hall in Britain, and you can tell the moment you step through the door. Theatre history is literally coming out of the walls, and the place casts this incredible spell over audiences. The distressed walls and stone floors make them feel like they are watching a show in the past – even if it’s super contemporary, which is a gift for staging classic and period pieces like Box or Willows.

    The hall is always a character in your show, whether you like it or not. It’s a challenge, but give me that any time over a black box…

    Many adults know The Wind in the Willows from their childhood, but is it a story that is still fun for today’s young audiences?

    I think so. The heart of the story is about friendship, with this quartet of buddies who are the archetypes of so many friendship groups – Mole, the fussy introvert, Rat, the outgoing new friend who is also eager for change, grumpy Badger and of course, the irrepressible, self-obsessed Toad whom they love, despite his faults.

    But at the same time, we have brought the story up to date. We’ve relocated it to modern London, mixed up the genders a bit, and dropped all the jolly good Edwardian chaps in waistcoats stuff. (I loved that as a kid, but it was a long time ago, and it’s been adapted in that way so many times.)

    These are real animals who live today, with human characteristics and back stories that I think a contemporary, young, diverse London audience will recognise and enjoy watching.

    Your novel The Last Wild was published in 14 different countries, so obviously offered a globally resonant story. Are there themes in The Wind in the Willows Wilton’s that will similarly interest a wide family audience?

    We can’t escape it. The tragedy is that the animals in Wind in the Willows are under threat, from water voles (Ratty) to various breeds of toads which are going extinct. Not to mention the horrific pollution in our rivers we have seen this year. This is a Christmas show, and we want to entertain people and take them out of their lives, so there will be no doom and gloom but – it’s not a spoiler to say that UK wildlife, countryside and waterways are under threat in our story just as much as they are in reality.

    I’m most proud of the fact though that the actual production will be following the Theatre Green Book and will be super sustainable. We are trying to recycle and reuse and use as little new stuff as we possibly can.

    There’s an exciting team of cast and creatives on board for this show (I’m looking forward to seeing Corey Montague-Sholay as Mole!), including some actors who’ve done Shakespearean work in the past – no dumbing down for the younger attendees then?

    It’s a completely phenomenal cast and creative team, with some very impressive credits. I feel like Christmas has come early!

    Making good work for young people, and Christmas shows that whole families – from little children to their grandparents, can all enjoy together, is a serious business in my opinion. I would never condescend to or patronise young audiences, we want to serve them the very best theatre we can make, that is as ambitious and entertaining for all as it is accessible, inclusive and age-appropriate.

    And I’m very impressed to see the amazing Samuel Wyer has designed the puppets! I take it these puppets are quite different from those he created for The Ocean at the End of the Lane?

    We are so lucky to have Sam! He’s a genius and created amazing puppets for our production of Box of Delights, so I’m really glad he’s come back for this. I think it’s safe to say that these puppets might be a tad less scary than the monsters he made for Ocean, but they are no less spectacular or ingenious. Come and see!

    Can you tell us a bit about the music and songs in the show? Have you turned your dexterous hand to songwriting too?

    I have, and it’s been a joyful new challenge. Luckily, I’ve had the privilege of working with composer Chris Warner who is so generous and has held my hand on this one… we’re really excited about what we’ve come up with.

    It’s not a full-blown musical, but more a play with songs – the original book is actually studded with songs throughout and we wanted to honour that creative choice of the author, Kenneth Grahame. He may even have written a few of the lyrics we’re using himself too…

    Thanks very much to Piers for taking the time out of his busy schedule to chat with us.

    The Wind in the Willows Wilton’s is playing at Wilton’s Music Hall from Thursday 24 November until Saturday 31 December. If you want to get yourself down to the riverbank you can find out more details and how to book here. More

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      The Reggies 2019: Deluxe Edition – Part Two

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      The tribute act was once looked upon with disdain: it was quietly restricted to holiday camps and cruise ships. Nowadays it has turned into an industry, with quality acts playing major theatre venues. This is a very different beast from the jukebox musical, which has a narrative built around the songs of a particular artist: it is a genuine impersonation featuring their greatest hits. I’ve seen half a dozen play this year, so it seems only right to introduce a new category of Best Tribute Act. In third place we have The Greatest Love of All; a Tribute to Whitney Houston at the London Palladium. Belinda Davids turned in a slick tuneful performance as one of the greatest divas in pop history. In the runner-up spot is The Bowie Experience: The Golden Years Tour at the Hackney Empire. Lawrence Knight on occasion looked and sounded spookily like David Bowie. But the winner by a country mile is George at the Eventim Apollo. Backed by members of his original band, Rob Lamberti pulls off a brilliant impersonation of George Michael.
      So ever onward to the works of William Shakespeare, a category we have dubbed Dear Old Will. No theatre reviewer can get through the year without the bard featuring at some point. In third place is Macbeth: The Musical at the White Bear Theatre, a refreshingly new approach to the story featuring Avenue Q style puppets. Second spot goes to Twelfth Night at the Rose Playhouse; an ultra-smart musical version set on a cruise liner in the 1920s. Great fun if you can stop shivering for long enough. This year, though, the fat cigar goes to the Iris Theatre for their brilliant production of Hamlet at St Paul’s Church. The masters of open air theatre just seem to get better and better.
      And now the fluffy, feel-good world of Best Musical. You know the type of show: switch your brain into neutral and have a good old sing song. In third place, winning its second nomination, is Ragtime at the Bridewell Theatre. Nothing more could be asked of cast and crew in this recreation of a Broadway classic. In second place is The Pirates of Penzance at Wilton’s Music Hall. Gilbert and Sullivan have always had a touch of Marmite about them, but there was no doubting the quality of this production. An all-male cast (some clad in basques!) were note perfect throughout. And the proud winner of this hotly competed category is Ain’t Misbehavin’ at the Southwark Playhouse. The Fats Waller musical has never sounded better than in this confident production featuring an excellent cast.
      I’ve saved the blue ribbon event for last. The award for Best Play is the most difficult category to cast with the volume, depth and quality of production in London theatre. My top three constantly changed even as I drafted. Finally I settled my troubled mind: in third place, The House of Yes at the Hope Theatre; a marvellously inventive play with strong characters and a tight script. In second place, Jesus Hopped The ‘A’ Train at the Young Vic; a great title, great script with cool acting in the coolest of venues. So why on earth didn’t it win? Death of a Salesman rose like a giant casting a shadow over everything in its wake. The play is a classic of 20th century theatre, but like so much of Arthur Miller’s work is still considered a writer’s play. Critics will love it but it will often garner a mixed reaction from the public. It may be long but in the hands of a great cast it becomes a moving, almost electric portrayal of life in all its pain and glory.
      I expect 2020 to be another outstanding year in the theatre.  We seem comfortable to continually raise the bar, and expect even greater things from our actors and creatives, but somehow you just know it’s going to get better. See you the other side of Brexmas! More

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      The Reggies 2019: Deluxe Edition – Part One

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      Well I really wasn’t sure what to call this latest instalment of the Reggies; I considered Roman numerals: The Reggies III in true Hollywood style, or maybe Reggification – the saga continues. But then I settled on The Deluxe Edition; simply because it’s now expanded to a sumptuous eight categories. It doesn’t seem possible that twelve months have passed since the Reggies were last awarded. As we hurtle towards 2020 I can happily report that London theatre has enjoyed another bumper year. But exactly who has done enough to earn a much coveted Reggie? Who will just have to make do with a runners-up spot? This task gets more difficult as the quality of shows moves inexorably into overdrive.
      Best Venue is always a loaded question especially as theatre has now morphed into four distinct tiers: West End, Off West End, Provincial and Fringe theatre. As before, I’ve excluded West End theatres from this category in the interests of a fair fight. So in third place, winning its third consecutive nomination, is the Old Red Lion in Islington. A lovely pub with a great atmosphere and rich history, its theatre has maintained consistency of output throughout the year. A brand new entry at number two is the Hope Theatre in Islington. With live bands playing in the basement and a brilliant theatre upstairs, the Hope & Anchor (as it’s popularly known) is now the complete entertainment venue. But the winner, another new entry, is Wilton’s Music Hall in Whitechapel. So cleverly concealed is Wilton’s that even Google Maps struggles to find it.  Once inside, the Music Hall, with its authentic Victorian decor, is a truly magical place.
      Best Actor is a devil to pin down as there are so many fine performers out there, and my field of vision is limited to the shows I’ve seen. Taking third place is David Schaal in the disturbing but compulsive Weatherman at the Park Theatre. Schaal delivered a chilling performance as the boss of a human trafficking operation. In second place is Miles Jupp in The Life I Lead at the Wyndhams Theatre, a delightful one man show charting the life of journeyman actor David Tomlinson. But the undoubted winner is Wendell Pierce in the turbo-charged Death of a Salesman at the Piccadilly Theatre. So good was Pierce’s performance as Willy Loman everyone else was bidding for second place; a performer of rare distinction and ability.
      Similarly Best Actress is difficult to call, but in third place is Fiona Skinner in The Sweet Science of Bruising at Wilton’s Music Hall. Playing tomboy Polly, Fiona stole every scene in which she appeared. In second place we have Sharon D Clarke as Linda in Death of a Salesman. It’s no easy task playing opposite a powerhouse like Wendell Pierce, but Sharon was in many respects his equal as family matriarch. Just pipping her for first place is Collette Eaton for her brilliant turn in House of Yes at the Hope Theatre. She was in dazzling form as the psychotic middle class girl with a fixation on her twin brother.
      Best Set Design/Special Effects was a category introduced last year to highlight ingenuity in small venues. So in third place we have Last Orders: the Haunting of the Old Red, strangely enough at the Old Red Lion. In a production that drew on the pub’s rich history to create a ghostly story of times past, by using a simple sound and lighting system they created a highly effective atmosphere. In second place is Dracula at London Library. Here the producers simply used what was already there: a beautifully designed reading room was transformed into a stage with carefully placed screens projecting images around the room. The effect was amazing.
      But taking gold is the excellent Ragtime at the Bridewell Theatre. It was a remarkable production, not only because Sedos are an amateur theatre company with a professional edge, but the set was a stroke of genius in a cramped performance area; a wooden facade stretched across the stage. With the addition of simple props it became the bow of a ship bringing immigrants into Ellis Island, then the suburban home of a wealthy New York family and finally the city library. It was brilliantly conceived and executed and even managed to conceal an orchestra behind the set.
      OK that’s the first half done. Stay in the moment and we’ll be back shortly to reveal the Best Tribute Act, best Shakespeare production, Best Musical and Best Play. More