The Wind in the Willows
Pitlochry Festival Theatre
Sunny afternoon down by the banks of the River Tummel could not be a better setting for one of the classics of English literature written in 1908 by Kenneth Grahame. Born in Edinburgh Grahame had a troubled life. His father, who had a drink problem, sent him to be raised by his grandmother in Cookham Dean in Berkshire after his mother died of puerperal fever. (Incidentally abode of painter Stanley Spencer). His son Alistair was born blind in one eye with ill health and Grahame produced bedtime stories for him which became ‘The Wind in the Willows’, inspired by the River Thames and the animals he encountered.
This book has been by my bedside forever and I know every chapter since childhood. It took me a while to get over the shock of this modern interpretation. Where was my favourite ‘Piper at the Gates of Dawn’? Where was Mole going back to his home at Christmas? But once the cast kicked in with their energy and songs I sat back and realised that this story can take everything that is thrown at it. You do not have to be a purist to realise that Graham created characters with which we can universally identify, laugh, and cry.
Pitlochry decided to commission a new version to be performed aptly by the River Tummel with all Covid safety in mind.
Once I got over the realisation that this was a new adaptation by Mark Powell, I began to understand why he had taken his approach. It worked for all ages, identifying in bold strokes the underlying lessons the original text had subtly told its young readers. Friendship, the journey to realisation of whom we are, and above all kindness.
Performed with energy and belting out new songs the strong cast tackled the multiple costume changes, and difficult grass slopes with ease. Much of the action took place on the new band stage and the multiple level boat structure. At times, the cast ran through the audience even driving Toad’s magnificent electric vintage car accompanied by cheers down the centre between picnic chairs, rugs, and young children. A health and safety nightmare. Costumes were a ragtag selection loosely resembling the situations and characters with many quick changes. All this while coping with passers-by along the river walk, building work on the new foyer of the main house and the occasional jet out of Lossiemouth swooping overhead. At times the show became a little bit ‘panto’ but this can be forgiven as the children loved it. And it pushed the show on after a slowish start.
Blessed with an excellent cast, director Elizabeth Newman gave them plenty to work with and enjoy. Colin McCredie took centre stage as Toad. Usually, this part is cast with a more physically round or padded out actor. Not so this time. With excellent timing and characterisation, we truly learned to love this vain, pompous, and funny incarnation created by McCredie as he blagged his way through life, eventually agreeing he should say sorry for his adventures. The audience loved him. Alicia McKenzie made a delightful Mole. It was grand to see Jane McCarry reincarnating her Isa Drennen from ‘Still Game’ into a wise Badger. The cast took on multiple roles from an energetic Ali Watt as Ratty and a silly skinny Richard Colvin as Weasel, backed up by an excellent Connor Going as Otter and soprano Kate Milner-Evans as Rabbit. All brought their physical and vocal skills to the many original songs by Ben Ochipinti.
Costumes were at times confusing. The Car was the Star! Sometimes the emphasis on social issues came over a bit heavy-handed, but Hey Ho! A sunny afternoon in the beautiful Perthshire Hills, an audience of all ages enjoying excellent professional live theatre, relief from the tragedy of a worldwide pandemic and the restrictions imposed, what more could you want?
Performances until 8th of September.
