Mixing elements of circus, musical and panto, this year’s Christmas show at the Tobacco Factory takes you below the floorboards at 23 Myrtle Avenue, Southville – the low ceilings of the theatre offering a suitable sense of confinement.
Working in the round, between four of the supporting columns that hold the old tobacco factory aloft, the Borrower family of Pod, Homily and their daughter Arrietty Clock do their best to live their lives under the thunderous footsteps of the human ‘beans’ above them. But when the brave and adventurous Arrietty breaks the Borrowers code by ‘talking’ to 10-year-old Eddie, the scene is set for a make or break adventure in which the little people will bid to escape the murderous intentions of Eddie’s house-proud auntie Val, Mrs Driver, in Bea Roberts’ playful adaptation of Mary Norton’s original.
First, we meet a mature Eddie (Simon Armstrong), now a slightly shambling man, decades on from his days being looked after by his auntie on Myrtle Avenue, who narrates his childhood experiences and adventures with the Borrowers, looking back fondly to the time he found strength from the tiniest of friends, recalling his attempts to protect the Clock family and finally standing up for himself.
Panto is nothing without a good ‘bad guy’. Lucy Tuck conjures a Miss-Trunchpole-meets-Mrs-T mash up for the role, with eye-rolling distain to top off her tightly tailored two-piece suit and green high heels. With Tuck in top form, the rest of the cast could do their ‘being scared’ thing with abandon. Craig Edwards was a wonderfully pop-eyed, psychologically scarred Pod, led on by his free-spirited and assertive daughter Arrietty, played with stylish confidence by Jessica Hayles. Edwards’ ecstatic run through the ‘grasses’ of the garden beyond the house would be a moment to savour. Peta Maurice as Homily, Arrietty’s mum, was every bit as agile as her daughter especially when crawling upside down on the overhead ladders, but also managed to convey her vulnerability as her home began to come under threat. David Ridley as the young Eddie brought out the boy’s sense of empathy and rising rebellion. His geeky glasses would loom large in the show.
Designer Rosanna Vize hasn’t missed a chance to enjoy the opportunities of proportion that this story affords. An oversized sardine can, a massive cotton bud and giant television remote control all adding to our suspension of disbelief. Director Nik Partridge has made the most of the limited space available and with dramatic lighting from Jess Bernberg, episodes involving switches between little and large scale were made magical – especially Arriety’s experience with Auntie Val’s Hoover.
Original music by David Ridley was performed on guitar, keyboards and drums by the cast, with musician/performer Ellie Showering on drums also taking a hilarious turn as the pest controller, possibly inspired by ‘Trumper’, the overzealous animal control worker in Aardman’s Shaun the Sheep Movie.
There’s plenty here for ‘beans’ of all ages to enjoy. The play’s lightly addressed message of tolerance, kindness and resilience, no matter what size you are, seems a very suitable Christmas takeaway.
★★★★☆ Simon Bishop 5th December2018
