It does us all good to be reminded now and again of what it is like to view the world of imagination through the eyes of a child. ‘Let the possibilities be unrestrained’: so the approach of Le Navete Bete sets out to retell the famous ‘road’ story. In truth there is not much of a story in the original and in the absence of the songs of the Garland film version the all male company of four have their work cut out to keep us – an audience of some breadth in terms of age – entertained over two acts. But work at it they do. Having pinned the story up against the wall they threaten it with destruction unless it reveal every last ounce of absurdity. They go about their business by not pretending that they are pretending. The rule is; if it’s funny do it. The result is the audience are swept along
One suspects the company are fans of Python, but whether or not they owe a direct debt or simply plough a similar furrow, along with others like The Mighty Boosh who can trace their lineage back to the Flying Circus, the total abandon to silliness is face-achingly more than adequate compensation for the lack of the film’s sentimentality. Throw in some singing, acrobatics, Irish dance and plenty of slapstick – to say nothing of some textual additions from the younger section of the audience, which had the effect of delighting parents and company alike – and the show makes good its boast of being for ‘all ages’.
Invention aside perhaps the greatest asset of the company is its charm and ability to connect with the audience. They make the demanding stagecraft look easy, primarily by appearing to enjoy themselves as much as the audience. Nick Bunt’s bouncing and optimistic Dorothea, about as feminine as a pork pie, is nonetheless as winsome as could be in his blue gingham frock. Matt Freeman’s straw-for-brains scarecrow and Alex Dunn’s lovelorn Russian tin man, both equally endearing, are cleverly wrought creations. If they had a mind for merchandising then Dan Bianchi’s timid, upper-crust lion is as cuddly as any three to five year old could want.
Mark Laville’s direction has allowed the company to stamp their own distinctive brand of physical comedy on the story whilst keeping enough of a narrative momentum to the final realization that what they sought was within their grasp all the time.
The show constantly challenges us as to what we will accept from a stage performance and each time proves the point and says, ‘ See we told you so’. How brilliant is that? ★★★★☆ Graham Wyles 15th September 2016
