list.co.uk/festival Reviews | FESTIVAL KIDS

E N R O H T A L L U E V E T S

HELP! MY SUPPLY TEACHER IS MAGIC TV show makes difficult transition to the stage ●●●●●

Once upon a time, pulling a rabbit out of a hat or sawing a lady in half had an audience in raptures. But in this age of Derren Brown and David Blaine trickery, audiences are now looking for something slightly more sophisticated.

That said, the wonders of close-up and sleight of hand magic still prevail it just needs a satisfactory overlay which is where this show falls down. On CBBC, Help! My Supply Teacher is Magic has the central premise of hood-winked children on its side. On stage, in this rather lacklustre production, we only have the interplay between the three magicians all of which feels a little forced. There are attempts to bring the TV show format into the theatre, via a large screen, but this does little to embellish what’s actually happening live in front of us. Audience participation is delivered with the ‘Interactive Illusion’ segment from the TV programme but frustratingly, one of them is just too complicated for most to get. Well-worn tricks (and these all are) can still be

great fun with the right delivery, but this isn’t it. (Kelly Apter) Underbelly Bristo Square, 0844 545 8252, until 25 Aug (not 14), 1.10pm, £11.50–£12 (£10–£10.50). Featherweight may have made ripples rather that waves in this small compassionate show, but they are tangible ones. (Lucy Ribchester) Zoo, 662 6892, until 26 Aug, 1.45pm, £8 (£6).

S N R U B E T A K

THE RED TREE Sensitive meditation on childhood depression ●●●●● ESIO TROT Delightful adaptation by Cambridge students ●●●●●

Refreshing isn’t quite the right word to use, but seeing a children’s theatre piece open with the bleak torch-lit sentence ‘sometimes the day begins with nothing to look forward to’ is a welcome move towards tackling head-on the feelings of childhood depression that can make life a misery for young sufferers.

In this adaptation of Shaun Tan’s award-winning book, Madeline Shann sensitively adopts the role of a silent lone girl travelling through unfamiliar landscapes, meeting creatures that loom large and worrisome. A rainstorm sees people with umbrellas turn away from her, a giant jellyfish is both enchanting and overwhelming, and a hostile game of building blocks keeps constantly changing the goalposts of her path. It is sometimes hard to see what value turning static illustrations into live action brings here. But the star of the piece is composer Rob Hart, whose score maps out the emotional journey of the girl with a subtlety and immediacy that wraps you up in it.

Roald Dahl’s tale of two lonely people brought together by a tortoise was adapted for the stage by Cambridge University’s Ryan Ammar and brought to Edinburgh by the Uni’s ADC Theatre. The script bolsters the slight story by amping up the villainy and using the tortoise, Alfie, as narrator.

Jack Mosedale is excellent as the haughty,

sardonic tortoise, linking the audience to the action without talking down to them. Mr Hoppy (Ben Pope), the hopeless romantic, becomes comically odious with a touch of Edmund Blackadder about his scheming. Humphrey (Dominic Biddle), whose physical and prop comedy some of which was believably unscripted is responsible for a lot of the laughs and the cast is rounded out by Helen Charman as Mrs Silver, portrayed with far more depth than the original.

As a group, the chemistry is winning. It all adds up to a thoughtful adaptation that retains the magic of the original story while making the most of live theatre’s possibilities. By utilising interactive touches, as well as excellent audience rapport, the show is a delight for all ages. (Suzanne Black) Assembly George Square, 623 3030, until 25 Aug (not 15), 10.30am, £7–£8 (£5–£6).

RUMPELSTILTSKIN AND THE WHEEL OF FORTUNE Puppetry that spins pure gold ●●●●●

Perhaps it’s his funny name. Or the fact he can spin straw into gold. Whatever the reason, Rumpelstiltskin has remained a perennial fairytale favourite for over 200 years. Storyteller and puppeteer Andy Lawrence knows that, which is why apart from a few small tweaks, he has left the Brothers Grimm plot virtually intact. Over the past few years, Lawrence and his company, Theatre

of Widdershins have been responsible for some of the most glorious puppet shows on the Fringe. This year is no exception, because once again the key ingredient to Widdershins’ success is there great sets. Upon entering the theatre, you’d be forgiven for thinking that little time or effort had gone into the show’s staging. A few strands of straw, surrounded by several tied up hay bales. But as is always the case with Lawrence, all is not as it seems, because one by one, those bales open up to reveal new locations and characters.

Apart from the main guy himself, names have been changed to make the show Lawrence’s own, with King Avarice the Third ruling the land, Corny Buckwheat the miller whose daughter becomes queen, and Sneaky McGleaky the royal servant who finds out Rumpelstiltskin’s name.

Lawrence divides his time between chatting amiably to the

audience and puppetry, and there’s a sense that the ratio could use some fine-tuning. Because when he picks up his beautiful creations, and breathes life into them, the show becomes even more engaging. The odd funny line, aimed squarely at parents, hits the spot while the silliness has the little ones copiously laughing out loud. (Kelly Apter) Scottish Storytelling Centre, 556 9579, until 25 Aug (not 19), 1pm, £9 (£7).

15–26 Aug 2013 THE LIST FESTIVAL 61