Writer: Julia Donaldson and Axel Scheffler
Music and Lyrics: Jon Fiber and Andy Shaw
Director: Olivia Jacobs
Julia Donaldson and Axel Scheffler’s books are beloved by children all over the world, making them one of the most successful writing teams of all time.
The Gruffalo and its sequel The Gruffalo’s Child have sold more than 13.5 million copies and are a staple on children’s book shelves.
In The Gruffalo’s Child, we meet the titular character at bedtime with Dad, as the child asks questions about the big bad mouse. Filled with child-like curiosity the child slips away from Dad while he is snoring and heads into the woods, where they are forbidden to go.
In the woods, the child meets all our favourite characters: Snake, Owl and Fox who are all equally unhelpful in the child’s quest. Eventually, the child meets the mouse, only to be tricked into thinking he is the scariest creature in the woods.
Tall Stories is well known for its live adaptations of Donaldson and Scheffler’s stories – they premiered the stage production of The Gruffalo in May 2001, just 18 months after it was first published, and The Gruffalo’s Child in 2005. Founded in 1997 by Olivia Jacobs and Toby Mitchell to take work to the Edinburgh Fringe, Tall Stories’ shows have played in the West End, on Broadway and at the Sydney Opera House.
The show is performed by a cast of 3, Harriet Waters as the Gruffalo’s Child, Samuel Tracey as the Mouse and Maxwell Tyler as everybody else. Each performs with care and perfection. The children love the characters being brought to life before them and enjoy interacting with the participatory moments.
The set, designed by Isla Shaw, is simple and effective, made up of moving trees and a big blue moon. One can’t help but think that more could have been done to create the environment of the piece and to show the child’s movement through the woods.
Olivia Jacobs’ direction utilises mime to create many of the magical moments in the story including the descriptions of the big bad mouse, and the Gruffalo. The mime and accompanying sound effects are delightful and certainly amuse the young audience.
There is nothing radical or even clever about the way the book has been brought to life on stage, and it feels overwhelmingly like a performance of missed opportunities.
There are times when it feels as though moments are being stretched out to stall for time, when the participatory moments, which the young audience needs, feel rushed through. As a result, the performance feels very one-dimensional and would have benefited from more emotional moments and changes in pace.
Overall, this is a performance that entertains and appeals to kids, providing them with a memorable experience.
Runs until Saturday 3rd February 2024
