We arrived to find a theatre buzzing with anticipation, the kind of atmosphere that only a room full of children can generate. The audience was made up largely of preschoolers, with a scattering of slightly older children, all brimming with excitement and dressed in Christmas party wear. Their energy was infectious, and it set the perfect tone for what was to come. Before the performance even began, the Mouse Quintet took to the stage, filling the theatre with a lively medley of Christmas pop songs and well-known festive hits. This clever pre- show entertainment immediately engaged the young crowd, who sang along. It was a joyful way to ease everyone into the spirit of the production, and it cleverly blurred the line between audience and performers right from the start.
The show itself was deliberately relaxed and easy-going. Children were free to move around, leave their seats, and make noise without anyone batting an eyelid. This openness created a welcoming environment, especially for families introducing little ones to theatre for the first time. It felt less like a rigid performance and more like a shared festive experience. And let’s not forget the venue itself: this is the famous theatre where Agatha Christie’s The Mousetrap runs all year round. The playful nods to mousetraps throughout the show were a witty touch, tying the production to its iconic setting.
The five musicians of the Mouse Quintet transformed seamlessly into the characters of The Nutcracker. While the central magical figure of the original tale remained, this version offered a fresh twist—a new “tail,” if you will. Written and devised by Clare Beresford, the production leaned into whimsy and humour while still retaining the essence of the classic story.
Beresford herself took on the role of the evil King Mouse, commanding the stage with a strong singing voice that soared through the theatre. Her performance balanced mischief and menace, delighting the children while giving the story its necessary antagonist.
The supporting cast added layers of fun and warmth. Dominic Conway played Fritz, the mischievous young boy, while Lakeisha Lynch-Stevens embodied his sister Clara with charm and energy. Both performers connected beautifully with the young audience, drawing them into the story with ease. Shamira Turner doubled as both the children’s father and the Sugar Plum Fairy, showcasing versatility and musical talent, particularly on the accordion which she played in the Mouse Quintet. Caroline Partridge brought energy, humour and eccentricity to her roles as Auntie Hilda Drosselmeyer and Elder Mouse.
It’s worth noting that Beresford and Conway also served as musical directors for The Nutcracker while also being key members of the mouse band while juggling their stage roles. This dual responsibility added to the sense of a close-knit troupe, each member contributing creatively in multiple ways.
The set and props were a highlight in themselves. Constructed primarily from cardboard boxes, they were transformed into imaginative 3D creations that astonished both children and adults. Designed by Paul and Sophie Brown, Michael Douglas, and Sam Wilde, the props and costumes were inventive and playful. Lighting effects by Joshua Pharo and Joe Hornsby elevated the cardboard structures, turning simple materials into magical landscapes. Who would have thought mouse tails, spiders, and fantastical creatures could be conjured from cardboard? It was a testament to the ingenuity of the creative team.
Overall, The Nutcracker by Little Bulb was a visually striking, musically engaging, and thoroughly entertaining festive treat. It is perfectly pitched for children under ten, offering them a chance to experience theatre in a relaxed, welcoming environment. Parents will appreciate the creativity and humour, though some of the toilet jokes may feel a little unsavoury for older audiences. Still, for its intended age group, the show hits the mark with charm, energy, and a generous dose of festive fun.
Reviewer - Penny Curran
On - 12th December
No comments:
Post a Comment