The Snowman at Birmingham Rep – new stage adaptation review

Birmingham Rep first created its stage version of Raymond Briggs’ much-loved picture book The Snowman in 1993 and the piece has been one of its biggest success stories ever since. Becoming a Christmas staple in Birmingham, at London’s Peacock Theatre and beyond, the show has been amended at various points and this year, the Rep has enlisted a new design team to create a fresh production.

One could ask when the former show was so successful why change it – but advances in theatre staging means whole new dimensions can be brought into the story, its movement and its visuals.

Directed and choreographed by Birmingham-born former Royal Ballet dancer Will Tuckett, this production draws strongly on classical dance. Whether it’s the Boy’s parents pirouetting around their lounge as they embrace the festive season, Father Christmas high-kicking or the snowmen and snowwomen country dancing, the show is bursting with movement.

Anna Fleischle’s designs intricately take us around a revolving house so that we are easily moved through bedrooms, lounge, kitchen and outdoors. There’s also a strong presence of the natural world with trees moving backwards and forwards across the stage and iciness pervading every space.

Much of the vibrancy of the production lies in Nina Dunn’s video design which forms a dramatic background to the flying scene in which the Boy and the Snowman take to the sky and head off to the North Pole. The immersive nature of video means we are flying with them across the sea, through gaps between icebergs and finally to land. And then, once in the North Pole, we are treated to skies filled with the swirling colours of the Northern Lights, ensuring the setting never stays still.

The Snowman character, designed by Tahra Zafar (a WhatsOnStage Award winner for her efforts with Paddington Bear), is easily recognisable as Briggs’ figure from the book and film but there is more malleability and changeability in this new costume. With eyes that can blink and wink and an expression which gives the illusion of movement, when the Snowman comes to life, he not only embodies the essence of “Snowman”, he is also very human.

Fans of the original stage show won’t be disappointed as there are elements which are recognisable. But there are many changes. Gone are the limbo-dancing bananas and pineapples which are replaced by some clever illusions by Chris Fisher in which the fruit appear suspended in the sky, hovering against a dark background.

At the North Pole, the snowmen and snowwomen are now in party hats instead of the national costumes which had become to feel a little anachronistic these days. Plus the “baddy” Jack Frost has been replaced by two mischievous youngsters Skadi and Frosti who are more naughty than menacing.

And across the board the animals (which were formerly costumed actors) are now puppets, taking advantage of the huge advances in stage puppetry over the decades. Designed by Daisy Beattie, they bring a real beauty to the woodland scenes as a rabbit family and pheasants are seemingly oblivious to a sinuous fox creeping through the trees. So too Father Christmas’ deer are life-size creatures which capture the grace and movement of these animals.

Andrew Ashton gives us a loveable Snowman. He’s affectionate, funny, cheeky and a wonderful friend to the Boy. Whether he’s dressing up in the Boy’s parents’ clothes, watching television or embarking on adventures, he brings naivety and curiosity to all that he does.

The role of the Boy is shared across four youngsters and on press night was taken by Tate Masuku, who brings plenty of gusto to the part. He’s exuberant as he plays in the snow, excited when he meets the Snowman, awed as he flies through the skies and, of course, broken-hearted when the adventure has to end.

The show remains set to the score created by Howard Blake with the classic song “Walking in the Air” performed by Bryony Macleod-Jones as a centrepiece and performed by a small live orchestra.

Together the creative team have ensured an updated production of The Snowman which continues to enchant audiences but with a new vibrancy and freshness which takes advantage of the many developments in stagecraft since 1993.

If you’re familiar with the show it’s a little like meeting an old friend who has had a makeover – they’re suddenly looking more modern but remain your friend at heart. And for new audience members, young and old, it is a production full of surprises, gentle humour and charm.

No doubt, this new iteration of The Snowman will be delighting audiences for many years to come.