Food for souls of all sizes
Presented by: Australian Chamber Orchestra
Reviewed: 19 May, 2023
What? A little kids’ music show without the obligatory drums thumping away, RSL-style? Don’t today’s young ones need that comforting backbeat in their music? Just as children are not born racist, neither are they born genre-ist. And a lively, attentive and engaged audience of 200 kindergarten- and early-primary-school-aged children proved this today, thanks to the vision of the Australian Chamber Orchestra, the evocative quality of composer Paul Stanhope’s music, the bravura performances of the two actors involved, director Sandra Eldridge’s canny eye, and the precise, bright and theatrically aware playing of the four ACO musicians in string quartet format.
Bringing Mem Fox and Julie Vivas’s beloved 1984 picture book to life is a sure-fire micro-crowd pleaser. It’s already been done as a live stage performance; remember Windmill’s production, memorably directed by Cate Fowler in 2006-7? Now the sturdy bones of this vividly emotional book provide a narrative platform for composer Paul Stanhope’s music, which was especially commissioned for this show. Although it got its first airing at Sydney Opera House in 2021, this current production is playing Adelaide as the start of a three-month tour to South Australia, Victoria, Tasmania and New South Wales.
Unflappable Festival Theatre front-of-house staff helped guide patrons of all sizes past the intriguing pop-up water feature in the lobby of the Space. I had some misgivings about the likelihood of a string quartet beguiling this restless young audience. I need not have bothered.
A charming set, comprising wooden plank flats, four levels, clothesline, ladder, pot-plants and back lawn, provided Wilfrid Gordon McDonald Partridge’s back yard. I don’t know who designed the set, but they deserve congratulating for the light touch and sureness with which they evoke the Vivas pictures. The dais at the back of the stage contains the four fine musicians – Madeleine Jevons (violin 1), Janet Anderson (violin 2), Megan Turner (viola) and Freya Schack-Arnott (‘cello).
Wilfrid Gordon Mc – this is getting lengthy, let’s just call him Wilfrid – bounds onto the stage, and for the duration of the piece rarely stands still. He’s all five-year-old enthusiasm and energy, with a touch of mischief thrown in. He’s fearless, tolerant, thoughtful and heavily into football and fun. Joshua Reckless, an excellent advertisement for the WAAPA Music Theatre degree, plays Wilfrid to perfection. His physical work is remarkable, his spoken voice retains a child quality without sounding like a caricature. And he sings very well indeed.
Wilfrid’s best friend is an elderly resident of the nursing home next door, called Miss Nancy. She is played by redoubtable Australian actress Annie Byron. You may have spotted her in Wolf Creek or as Rhonda’s mum in Muriel’s Wedding. Byron has a ball, not only giving us a warm, wise, fun-loving Miss Nancy, but also doing quick-change vaudeville-style characters, portraying five other residents of the nursing home. Her vocal quality throughout it all is remarkable, and a tribute to an astute ear and an actor’s observational skills.
The music. That’s what sets this show apart from many other tiny-tot shows. Stanhope has form as a composer (winning Art Music Award’s ‘Work of the Year’ eight times). His composition meshes tightly with both language and plot, integrating the music with the story and the sounds of the words as well. It’s nowhere near background mood music. It’s integral to the energy and joy of the story, And the string quartet play his clever, quirky score with a high level of precision; synchronising pizzicati with Wilfrid’s juggling attempts is one good example. Two players (Madeleine and Megan) even deliver a few lines as Wilfrid’s mum and dad.
The story itself focuses on the nature of memory and memories. That Mem used her father’s four-part name for her central character hints at the tenderness and affection with which the book was written. And director Sandra Eldridge, working her Monkey-Baa magic, clearly respects both the delicacy and the joyous vibrancy of the story.
With no programme, I lacked information about the names of the two actors, the lighting designer, the set designer, the sound designer… all of whom are to be praised.
But did the kids like it? As energetic Wilfrid wheeled his trolley full of treasures over to Miss Nancy’s place, the four-year-old sitting next to me called out in a most concerned manner, “Be careful! You’ve got an egg in there!” I reckon they liked it. I did.
Reviewed by Pat H. Wilson
Photo credit: Daniel Boud
Venue: Space Theatre, Adelaide Festival Centre
Season: 17th – 21st May
Age suitability: Pre-K to Year 3
Duration: 30 minutes (+ Q & A session)
Tickets: A$30:00; C$25:00; Schools $16:00; Equity $10:00.
Bookings: https://dreambig.adelaidefestivalcentre.com.au/whats-on/wilfrid-gordon-mcdonald-partridge
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