After a period of absence from the seaside town, it was a welcome return to Blackpool for me, this time for the third take on Kenneth Grahame’s classic The Wind In The Willows that I have seen, and oh what a treat! (7pm start) - I know I shouldn’t have gone with preconceptions but these were soon brushed away in the first few seconds. Metta’s production is utterly brilliant, with inclusion of almost every aspect of diversity and a cast of 10 hugely talented actors who are all triple-threats for sure!
With a minimal yet very well thought-out and versatile set, great rhythmic and mellow music and perfect lighting and timings, it was flawless, with the only disappointment being the lack of audience - at least in the circle.
Twenty years ago, director and founder of Metta, Poppy Burton-Morgan was at her ‘very average comprehensive school in the West Country’ and had an English teacher who was inspirational in that she made you think you could achieve anything: go to Oxford University; become a writer; and write a five-star smash hit musical. Fourteen years ago, at Oxford Uni, Poppy did just that and, with support from technical (set and lighting) designer William Reynolds. Metta was set up ‘to represent unheard voices and stories; to champion and celebrate the lives of people that don’t tend to get represented on our stages’. In the programme Poppy explains that it has taken 5 years to raise the money to make ‘epic theatre’ like In The Willows happen, with only 3 of the years spent writing it, and “it was absolutely worth the wait”. We quite agreed and are honoured that we have been able to witness such a special spectacle that has such a powerful story, modern twist and impactful moral.
With music (supervised, with additional arrangements, by Mark Collins) composed by Pippa Cleary and Keiran Merck and lyrics by Keiran too, this ‘hip hop’ musical is truly empowering, matched with perfect timing by Rhime Lecointe’s choreography. The writing is extremely clever and witty, with compassion and vanity in all the right places and features nods to hymns, soul, definitely influences from Hamilton and even a melody I notice like that of Kelly Clarkson’s 'Since You’ve Been Gone' (the line “I can breathe for the first time” sounds like that of ‘You Are Not Alone’ in the show). With costumes designed by Ryan Dawson Laight, the cast look beautiful and each have their own identity, portraying their character not just through acting.
With four more stops after here, on a tour that started in February, the ‘star’ role of Mr Toad is played by Harry Jardine (winner of the Carlton Hobbs award 2013) who plays the part beautifully with vanity yet likeability, but if anyone should deserve that title equally, I would say it was his female counterpart Victoria Boyce who plays Mole. Whilst she remains innocent and perhaps shy and naive, her confidence shines through, as does her (and each of the cast’s) incredible voice(s). A voice, heard many times (perhaps on radio?) - and face seen - on TV (most memorable for me from Tracy Beaker and The Harry Hill Show) is that of Clive Rowe, and oh what a singing voice too! He, in the role of guiding lead (in character and I am sure as himself) Badger, is such a joy to behold. He must embody the inspirational teacher of the director/writer’s childhood.
Further outstanding talents come in the form of Zara Macintosh as Rattie and Bradley Charles as Chief Weasel, but…, I am sure the cast will agree with me saying this, Chris Fonseca is the most inspirational of all of those on-stage (and maybe even in the company). A choreographer, dancer-actor and teacher, he is also deaf (but wears a Cochlear Implant in one ear). This is why the show includes elements of BSL (British Sign Language) which he uses throughout and his fellow actors also dip into (prominent in the song ‘What Do You Want To Learn?). To add this to the show, which is heavy in dance and movement, is ingenious and adds another dimension to its greatness. Chris is a founding member of Def Motion - an all-deaf dance group with an ambition to create and perform visual entertainment through dance, sign-song, comedy and visual vernacular (VV).
Completing the cast are (new additions to the wildlife animals featured in the story): Abiola Efunshile whose headdress innovatively matches her to the part of Owl; Seann Miley Moore (who you may know from his quirky style and love for killer heels, in life and whilst on The X Factor in 2015, mentored by Nick Grimshaw) as Duck, as well as Katherine Picar and Treasure Iyamu who play Bitchy and Twitchy Rabbits, respectively.
Whilst the story still follows a newbie to the neighbourhood as they learn the ways of the Willows, it is set in The Wild Woods estate, The Willows school and Burrows House block of flats and has various aspects that are true to the original but cleverly adapted. With the inclusion of tap dance, Toad’s signature colour and the use of a moped rather than a car (still featuring the iconic Beep Beep, Toot Toot and Poop Poop); detention and jail/court, ‘messing about with the beat’ rather than in a boat, the blackmail that the Weasels use on Mole (which, with the story used here is hugely poignant), these changes are subtle but a nod to the amazing story that we all know and love. Metta, Poppy and everyone involved, you did it justice and I wish you all the very best and much well-deserved success.
Reviewer - John Kristof
on - 2/5/19
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