STUDENT THEATRE REVIEW: Wind In The Willows - The Longmore Theatre, UCEN Manchester College, Manchester.

 

I have seen 'Wind In The Willows' many, many times over the years, but have never, as far as I can remember, seen this particular version before. Adapted from Kenneth Grahame by Alan Bennett, this production, performed by the second year actors at UCEN Manchester College, focuses much more on Toad's love of motor vehicles and his escapades, addressing themes of class, pride, courage, friendship and belonging. 

The stage set was a riverside walk at the rear with the forestage taking the form of river, wild wood, prison and everything in between. It was a nice idea which should have worked much better than it did in reality, since the direction was unclear at times and even placing both Mole's and Rat's homes on stage at the start, believing them both to be in the river, complicated comprehension of the narrative. The set required a few larger items such as a covered wagon (called a caravan here), a car, and house front, all working nicely, but my favourite was the rowing boat. 

The lighting design was adequate, although sometimes the specials used did not reflect the mood or setting on stage, whilst when given the absolute ideal opportunity for a perfect strobe sequence, we were given moving circles instead... very strange and this did not work. Directorially the pace set was quite pedestrian and with little change in dynamics throughout, there was no jeopardy in the narrative drive. There were a few long pauses between scenes, and as I have already intimated, clearer signposting of the scenes and the narrative would have been optimal.

Technically the show fell down mostly however on the lack of microphones. The play started with a solo song which was completely inaudible, and the volume only truly picked up once the four main characters were introduced and they started their antics. Even then however, the sound levels were generally too quiet. Either the cast needed to speak louder and project more, or they all needed mics. I was struggling to hear much of the dialogue sadly.  

The costuming and characterisations were effected by human costumes and behaviours with the addition of animal headgear and tail. (although the hedgehog's looked more like Statues Of Liberty!), and some had make up on their faces for their characters and others did not, which was strange. Horse, and Badger make up were excellent.

Mole (Owen Osborne) was a downtrodden, affable Northerner, pitching his character nicely between subservient and antiheroic. Rat (Ciel Clyde) was a pseudo upper-class snob, and again, what I could hear from her was delightfully pitched. Badger (Macy Blossom) was the much more down-to-earth auntie type, and reminded me very much of Penelope Keith. It was Nalu Aguiar's interpretation of Toad however which truly kept the show moving. Her energy and bluster, and commitment to the role was extremely commendable, and brought about a truly enjoyable and believable character. The four worked nicely together and their differences made their likenesses and their needs all the more poignant. 

An ensemble of 23 further actors / actresses completed the scene, with some taking on the roles of the evil wild-wooders; who, in this production were characterised as 1920s Chicago gangsters and their molls. Wesley Mottershead as Albert the Horse however deserves a special mention as the weary, put-upon, old faithful.

The script is alive with some quite sparkling lines, some of which land and others sadly did not. However, the one which stood out for me due to her excellent delivery was "I've been paid, now take your clothes off!".

Congratulations to all the cast. Clearly much effort, time, and energy has been expended to bring this play to fruition. The full company songs and dances worked well, and yet despite the cast's cumulative high energy levels, the play felt a little leaden at times, and I truly needed, nay craved to be able to have heard everything!

Reviewer - Alastair Zyggu

on - 13.6.25