Pinocchio at the Watermill Theatre – review

All family shows aim to please both kids and grown-ups – this one succeeds in enthralling kids and their parents (and at the matinee I saw, their teachers) from the moment they find themselves drawn into the magical world of Yoav Segal’s autumnal set, enchantingly illuminated by Jonathan Chan.

If you think you know the story of the cartoonish wooden puppet, perhaps even from the original 1940 Disney film, think again. If you have already encountered him through Michael Morpurgo’s book (based on 19th-century Italian writer Carlo Collodi’s story) adapted here by Simon Reade, you will know he has a voice and a self-awareness that makes him closer to the real boy he longs to be. Jerome Yates captures all of this and yet retains the unique otherness of the wooden puppet. Self-centred and even selfish he may be, but he is sympathetic too. It’s no wonder he is beloved by his parents and those he meets along the way who have good intentions towards him.

I mention good intentions because Jacoba Williams’ Carabiniere (police sergeant) clearly has the most evil of intentions towards Pinocchio, especially when she realises he has five gold coins stashed away. She is as central to the action as the anthropomorphic characters created by the cast of quadruple threats – not just acting, singing, and dancing but puppeteering too, thanks to Marc Parett, master puppet designer, maker, and director.

Add the puppets gloriously manipulated by all seven and the stage is crowded with life both human – Pinocchio’s loving parents, Gepetto the wood carver, single-minded and determined (Christopher Bianchi) and his long-suffering wife (Lottie Latham) – and creatures, including a cricket for whom you fear from the getgo (Fred Double), Afia Abusham’s quick-witted fox and Eddy Payne’s rather slower cat.

The central setting of wood and woodland (echoing the bucolic surroundings of the beautiful Watermill Theatre) is subtly brought into Gepetto’s home itself, where the whole kitchen and everything in it are made of warmly glowing different shades and shapes of wood. Signora Gepetto’s longing is truly affecting and I found myself hoping her singular new son would bring her love and comfort.

I’ve left to the conclusion of this review the extraordinary effect of the cast moving as one with a succession of puppets to fill the stage with layers of thrilling movement. A typical example of ingenuity are the assortment of school children puppets: created by the cast holding sticks crowned with panama hats and with school skirts or shorts below – the cast themselves in panama hats too!

Add Chris Larner’s music and lyrics, exhilarating, comical, joyous, and plangent by turns, and it’s no wonder the rapt audience of all ages laughed and clapped and cheered and rose to their feet for a standing ovation. Take a bow co-directors Indiana Lown-Collins and Elle While!