Twitchers – Grove Hall, South Kirkby

Writer and Lyrics: Poppy Hollman

Music: Amal El-Sawad

Director: Marianne McNamara

It may be raining outside, but you know Summer is on the way when Mikron take to the road. This astonishing company works on a simple creative principle: take two topics (generally very English ones) each year, commission plays about them, then take four actors, all skilled in at least one musical instrument, to perform them and, finally, head off to the playing fields, village halls and canal-side pubs of England for the summer. The first couple of months finds the company travelling by van from its Marsden base; from the end of May it’s the narrowboat Tyseley and adventures further south.

A Mikron script usually involves a story set in the present day relevant to the chosen institution: inTwitchers it’s the Royal Society for the Protection of Birds, so Jess (Hannah Baker) is the warden of Shrikewing reserve, thrilled by the possibility of a film crew arriving. Her arguments with her assistant (Harvey Badger) about the desirability of free access to the site are the first example of bringing key issues to the fore, this the recurring one of the danger of humans.

Throughout the play events in the RSPB’s past are acted out aided by Celia Perkins’ adept costume changes. The main story proceeds with the local mayor (Rachel Hammond) trying to get on board, without having a clue what RSPB is all about, while her PA (Eddie Ahrens) proves a devoted birdwatcher. Hammond also finds time to personify a good-hearted twitcher with an eye for an avocet.

This is the framework around which the play is built, comical, but serious, with many a telling point about water boards and their neglect of rivers. Musically the production is outstanding. The cast members play – and play well – trumpet, saxophone, clarinet, flute, accordion, guitar and ukulele and Amal El-Sawad plays constant musical tricks, from her virtuoso setting of Poppy Hollman’s song for all the birds to the musical background to the outrageous boom of the bittern to the hints of The Lark Ascendingplayed beautifully by Hammond on flute. Under Rebekah Hughes’ direction as musical director the Latin rhythms are as seductive as the doo-wop elements are fun.

Marianne McNamara keeps the production flowing, from rooks to humans, in a pleasingly functional set that is easily transportable to the next venue, and all four young actors – two of them making their professional debut – excel in deliberately not over-subtle acting, instant character/accent change, singing with relish and booming and twittering to the manner born. And it’s amazing how much you learn in 90 minutes without really noticing!

Reviewed on 14th April 2023. Touring nationwide.