Pinocchio musical at Shakespeare’s Globe – review

It’s a brave theatregoer who attends an outdoor production at this time of year, but Shakespeare’s Globe has gone all-out on a beautiful, brand-new musical brimming with enough fun and magic to warm the coldest audience member from their heart to the tips of their toes.

Charlie Josephine and Jim Fortune’s Pinocchio is based on the 1883 children’s fantasy novel by Italian author Carlo Collodi, made world-famous by Disney animation. It’s a gorgeous and heartwarming celebration of curiosity, acceptance and family in all its forms, expertly and expansively directed by Sean Holmes.

Inventor Geppetto dreams of a bigger life beyond the walls of his small town. He gets more than he bargains for when he carves a puppet from a magical piece of wood that comes to life. He names him Pinocchio, and an unexpected bond begins. When Pinocchio accidentally goes off on an adventure, meeting some curious characters along the way, Geppetto sets off to find him, as they both learn some valuable lessons about love and family.

Following their production of I, Joan at the Globe, Josephine’s funny and touching script edits Collodi’s tale down to a comprehensive yet snappy show, just short enough to keep the kids engaged, but with plenty for everyone to enjoy. There are some thoughtful and inventive additions, such as Geppetto’s nose also growing when he lies about not caring about Pinocchio and the revelation that Geppetto invented pizza.

As Geppetto, Nick Holder excels at portraying a chaotic man who is unsure whether he wants to open himself up to being a parent. Steven Webb is brilliant as both the slightly louche Giacomo Cricket and the menacing Coachman, who looks reminiscent of a maniacal John Galliano in his pirate phase. Ed Gaughan has a ball as travelling theatre-owner Franzini, giving his own short and very amusing stand-up routine.

The brilliant Kerry Frampton is hilarious as the slow-moving Snail Maid and convincing as the devious Fox. An energetic Lucy McCormick appears as both the depressed Blue Fairy (who rebrands herself as the Technicolor Fairy) and the Fox’s accomplice, Cat.

Fortune’s music is very catchy and delightfully varied; from Old Hollywood tap-dancing in “Life School” to the jazz-infused “Blueprints for Puppets”, where the company brings together the wooden elements to create Pinocchio. “Belly of the Beast” is a poignant duet between Pinocchio and Geppetto where they reunite, and Geppetto is honest about wanting to be a father.

In a world where we are bombarded by artificially created images, there is something truly enchanting about seeing traditional puppets seemingly come to life through such skilful manipulation. Peter O’Rourke’s puppet design and astute and generous direction are simply magical.

Pinocchio is a kindly-faced boy, masterfully handled by puppeteers Stan Middleton, Aya Nakamura and Andrea Sadler and realised vocally by Lee Braithwaite. The audience falls in love with him almost instantly, really believing in his dreams of becoming a real boy.

Grace Smart’s design is colourful and traditional, with lovely costume details, such as the whole ensemble wearing the same white socks and black shoes as Pinocchio and the Blue Fairy’s dress and wings flashing with tiny lights when she becomes more cheery.

Pinocchio is an uplifting, witty and beautifully realised production. A perfect family show for any time of year… and that is no lie.