Writer: David Walliams
Adapter and Director: Neal Foster
Co-Director: Richard J Hinds
Awful Auntie is the latest of David Walliams’ plethora of children’s books adapted for the stage by Birmingham Stage Company.
The story follows Lady Stella Saxby, a nearly 13 year old heir to the Saxby estate. Following an ‘accident’, she wakes from a coma and finds herself in the care of her Auntie Alberta with the news that her parents died in the accident. The Awful Aunt has one aim, to get her hands on the Saxby estate, but her niece is standing in the way.
Walliams’ writing is often compared to that of Roald Dahl and there are some definite Trunchbull vibes coming from Aunt Alberta. A woman who brags that she fought in the second World War, but for the Nazis as she ‘preferred the uniform’, Alberta really has no limits when it comes to punishing her niece to get what she wants.
When Stella is sent to the cellar, she meets an unlikely ally, Soot, a ghost who helps her in her bid to thwart her Aunt’s evil plan. But can they defeat Aunt Alberta and her trusty sidekick Wagner the fiercely loyal owl?
The set designed by Jacqueline Trousdale is clever, intricate and adaptable. While most of the performance is set inside, the set cleverly transforms to different rooms in the house. Scene changes are kept fresh and interesting thanks to bonkers butler Gibbon, played by Zain Abrahams, who when trying to catch a mouse, actually manages to catch himself.
The first half is slow and drawn out and feels a little underwhelming. It feels more like a collection of ideas, an introduction to the characters and a series of abuse. There are some nice elements, the music by Jak Poore helps to set the scene and the use of puppets is a huge triumph.
The second half warms up a bit when Stella and Soot get their own back on Aunt Alberta. A really quick paced, slapstick scene, Neal Foster as Aunt Alberta gets to play with the audience and show just how perfectly suited to this role he is. This is beyond doubt the highlight of the show.
All of the actors in this small cast are superb and play their parts with ease. A special mention for Emily Essery the puppeteer of Wagner the fiercely loyal owl who saves the show, she makes the unexpected hero feel like a believable character.
The play ends with the message that many dream of growing up, but the magic is in being a child. A nice message, but one that would have been lost if it hadn’t been spelled out.
Awful Auntie is enjoyable, amusing and has some lovely elements. It’s a little bit panto, a little bit drama and a little bit puppet show, but perhaps it’s trying to do a bit too much.
Runs until 25th May 2024.
