“We used to enjoy the farm. We used to enjoy work. We used to be happy.”
Charles Way’s A Spell of Cold Weather has been produced in Britain, Ireland and further afield many times in the last two decades. It tells the tale of a little girl, Holly, who brings happiness back into the lives of her down-in-the-mouth aunt and uncle, Betty and Bob, with a little bit of help from a mischievous Puck-like fairy and a talking animal or three. Betty and Bob have worked on the farm their whole lives, it seems, and have isolated themselves from society, and from each other. They have become so hardened by the monotony of their everyday existence that not only have they forgotten to celebrate Christmas this year, but they have forgotten how to sing, dance and play games as well. When Holly comes to stay, she brings a new lease of life into their humble home and, through her interaction with fairy Tomos Trickman (whom only she in her childlike innocence can see), enables her aunt and uncle to reconnect with their culture and their childlike sense of fun through magic and music.
Cahoots NI’s latest production ignites an atmosphere of magic and wonder among its young audience, using many visual effects and illusions which, along with a bewitching score by Garth McConaghie, serves to create a truly enchanting and memorable piece of theatre. The innocent visage of Charlotte Workman as Holly is emphasised by a ‘Red Riding Hood’-inspired costume, and the child spectator is invited to share Holly’s perspective as she is presented with a world where her vibrant primary colours look out of place amongst the dull browns and greys, the door handles are far too high for a child to reach and the stool provided for her is comically tiny. The mischievous nature of Tomos Trickman is underlined in a pantomimic, “he’s behind you” style disappearance and re-appearance of toothbrushes, bowls and bedclothes, as well as impressively agile transitions from one set piece to another by Trickman himself (Jaimie Carswell).
The lighting and sound designs in the play add a further element of mystique, as all appears to be controlled by Tomos Trickman. This can be seen from the very beginning when we are invited to partake in the magic of the story as Trickman mimes drawing the light from the audience, the house lights dimming as he does this, and illuminating the stage. The playful use of what initially appears to be quite a basic set lends a further element of magic and imagination to the piece. Under the creative direction of Paul Bosco Mc Eneaney and the artistic skills of set designer Steve Bamford, a simple, wooden table is transformed into a piano, a bed and a henhouse; a double bass magically appears from behind a wall and trap doors open to reveal hidden delights.
The most memorable of all the performances was that of Jude Quinn in his portrayal of the cockerel, the cow and the dog. Hysterically accurate and believable in the physical gestures and personalities he awards to his animals, the show truly reaches its climax at the point of Sheila the cow’s entrance, which was greeted with delight by young and old audience members alike.
A truly enchanting piece of theatre.
Helen Cusack is currently completing her Masters degree in Children’s Literature at Trinity College, Dublin.