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Posts Tagged ‘Walt Disney’

This show takes its title from a song in Mary Poppins sung by Mr Banks, played by the actor David Tomlinson, the subject of the play. A one-man biographical memoir featuring Miles Jupp, and its rather good.

Tomlinson had a very successful career playing the archetypal English gent. Though he worked on stage and TV, it was his prolific big screen career, some fifty films, for which he was best known. Walt Disney was apparently initially reluctant to cast him as Banks, but must have warmed to him as he later also cast him in Bedknobs & Broomsticks and The Love Bug, a trio of films which made him recognisable to a generation of children, and their parents & grandparents.

In addition to his film career, we learn about his difficult relationship with his domineering father, who led a double life, and the contrasting close relationship with his autistic son, one of four he had with second wife Audrey. These moving moments alternate with extremely funny ones of English eccentricity, somewhat lost in translation in Hollywood. Lee Newby’s Magrittesque pale blue set provides the perfect backdrop. Jupp plays Tomlinson engagingly, with great audience contact, warmth and charm.

It appears to be comedy writer James Kettle’s first play; an impressive achievement indeed. Perhaps Jupp is so comfortable with Kettle’s lines because he writes them for the News Quiz too. There’s a delicacy and lightness of touch about the writing, staging and performance that makes for a delightful evening, well worth a couple of hours of your time.

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If Walt Disney hadn’t adapted this late nineteenth century Italian novel by Carlo Collodi for his second full-length animated film just before the Second World War, it would probably never have become the iconic tale it has, told around the world in many forms and languages. Here we are almost eighty years later seeing a stage adaptation at the National Theatre, and what a treat it proves to be.

The tale struck me as darker (the hand of playwright Dennis Kelly?) and more moralistic than I remembered, with a strong emphasis on the importance of values and truth. In learning these en route from being a puppet to being a boy, Pinocchio encounters a trio of baddies – a sly trickster Fox, puppet-master Stromboli and fairground-master The Coachman. These are juxtaposed with his loving dad, puppet-maker Geppetto, and the Blue Fairy, who adds that touch of magic.

John Tiffany’s staging doesn’t rely on technology, as much modern theatre does, but it is utterly charming and completely magical. Bob Crowley provides a simple, appropriately wooden design of benches, trees and ladders until we move to the puppet theatre’s proscenium and the fairground’s lights. The underwater scene is an understated marvel. Puppets are used for some of the main characters (except the puppet Pinocchio himself!) with Geppetto, Stromboli and the Coachman twice life size, with three handlers as well as the actor in identical dress; this gives the production a somewhat surreal quality and a period feel.

Tiffany’s regular movement collaborator Steven Hoggett creates an athletic child-like world. and the illusions by Jamie Harrison (whose work so impressed me at the Harry Potter plays recently) are brilliant (though there was a minor nose malfunction on the night I went!). Martin Lowe provides a wonderful score to supplement the film’s original five songs and inspired by its incidental music and Italian and Alpine folk music, including the recurrent standard When You Wish Upon a Star, which sounds suitably lush with a 15-piece orchestra under Tom Brady in the pit.

Mark Hadfield’s Geppetto is very moving (was that a real tear I saw at the end?) and Joe Idris-Roberts is an absolute delight as a very malleable Pinocchio. All three baddies deliver the required badness – David Langham’s Fox, Gershwyn Eustache Jnr as Stromboli and David Kirkbride as The Coachman. Audrey Brisson makes Pinocchio’s conscience Jiminy Cricket a lovely companion and Annette McLaughlin is every bit the fairy of your imagination.

Younger kids might be a bit scared, but older ones will love it’s darkness and adults it’s timeless charm and glorious theatricality. One of the best Christmas shows at the National, adding to its impressive seasonal track record.

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