Odd and the Frost Giants at the Unicorn Theatre – review

A playful spin on Norse mythology, Odd and the Frost Giants started life as a 2008 World Book Day novella by Neil Gaiman. It’s now been adapted for stage by Robert Alan Evans, directed by Unicorn Theatre artistic director Rachel Bagshaw.

After losing his father, Odd (a warm and appealing Archee Aitch Wylie) is grappling with a cruel stepfather and struggling mother as the world is trapped in an eternal winter. After fleeing to his father’s cabin in the woods, Odd encounters a fox, a bear and an eagle who prove to be Loki, Thor and Odin, transformed by the frost giant who has expelled them from Asgard. They set off on an adventure to save the day as Odd strives to prove himself up to the task.

It is beautifully designed by Milla Clarke, with audiences entering to see a stage packed full of tall, snowy trees that shrink and grow and move as the story demands. One of the real joys of the production is the use of light and projections (by Simisola Majekodunmi) and video and captions (by Sarah Readman). The young audiences were entranced and delighted by glowing firelight, shimmering starlight and witty touches such as “zzz”s emanating across the floor and walls from a sleeping man. It is notably clever and lovely work. The projections also include full captioning, which demonstrates how accessibility can and should be a joyful, creative part of a piece, not an afterthought.

This spirit of inclusivity could be better worked into the script however; there’s an unfortunate amount of the word stupid, alongside idiot and greedy pig, and Odd – who uses a crutch much of the time – is called a slur that, while obviously not condoned, could do with a little more interrogation. There are some tonal issues to the script as well, with a very dark passing moment about human sacrifice and a few too many jokes about drinking or dating with adult undertones that don’t quite feel appropriately pitched. But the script is elevated by strong performances from the cast. Georgia Frost as Thor and Leo Wan as Loki, in particular, are witty and charming and make the most of Chi-San Howard’s movement direction, which also adds nuance and visual interest.

There’s a lot to like about the message of the show in terms of ordinary heroism and bravery, but it can get lost within the pacing that is a little baggy at times. The show, including an interval, is two hours long which doesn’t feel earned and younger audiences may get restless during long, talk-heavy scenes. There’s a shorter, tighter version inside this script with huge potential. Beth Duke’s music is beautifully done with a live accordion player and an exuberant song at the end and more moments of song could also keep the pace and rhythm of the story engaging for the advertised age recommendation of seven and above.

The heart of the story is in the right place but unfortunately, it does falter somewhat in its execution. However, it’s still an enjoyable seasonal show with remarkable work across the design team and engaging performances.