Drizzle and an early-morning start did not dampen the exuberance of the youthful cohort of ‘miniature humans’ gathered in the Ark. For clarification – and pleasure – I was accompanied by a critical friend, Lucy - at seven-and-a-quarter a fully eligible member of the Theatre Lovett target audience.
Before things really got underway, Louis Lovett, the sole performer, had to manage those children, bringing them from intrusive banter to respectful attention, and it was a solemn moment when they became dedicated to giving their concentration and respect to the piece. Lucy was impressed at Lovett, “really nice and funny-strict”. Both she and Louis were clear that grumpy commands to the kiddies to “Be quiet!” are not the way to go.
And so, Lovett creates the appropriate space for his story-telling, making it interactive without getting out of hand, allowing him to unpack, one by one, the elements of the tale – a villain called Peter and a mouse called Hildegard, a hero who is a girl, a blizzard and shipwreck, blood (metaphorically, lots of it) and a death. He animates it all with an abundance vocal and physical energy. Lucy liked his management of the gestures and the voices – five different characters and a narrator – amazed that he could change his reactions so rapidly and radically.
The story centres on Peggy O’Hegarty and her parents who were packers: “I want 17 foxes in boxes by breakfast”. Their work runs on the rocks – “one day, the phone, it forgot to keep ringing”. Although the ‘issues’ in this play do not have overt designs on the audience, being primarily about story-telling, the imagination and the transformative power of theatre, Lucy did pick up on a message here: “When you grow up you’ll be amazed how many people don’t have jobs or money”. But this is, in essence, a recession-buster - through eight scenes and an epilogue, Lovett unfurls an epic and optimistic voyage to resolution, through the resourcefulness and determination of a feisty girl – and the process of live theatre is far more important than the plot.
Louis Lovett is greatly assisted by Paul O’Mahony’s ingenious, literal box set, a mysterious crate of delights, starting out like something mammoth from Amazon.com and gradually opening, like a Russian doll, to reveal boxes within boxes, laden with light and sound and surprises. The work of Sinéad Wallace and Carl Kennedy give Lovett the technical accompaniments that enhance the clarity and vitality of the narrative. Lynne Parker maintains high production values with taut direction that allows Lovett’s performance to breathe.
It’s billed as a world premiere - clearly Kruckemeyer is a significant force in theatre for young people – but it’s perhaps a pity the Ark didn’t reduce the biogs in the wordy programme and use the opportunity to take us behind the creative processes involved in this production.
Inside the auditorium, never a dull moment for Lucy. Her verdict? “One of the best plays for children!”
Derek West is the Arts & Education Officer of the National Association of Principals and Deputy Principals. He edits the Association’s publications and administers its arts scheme for schools, Creative Engagement. He enjoys theatre for young people and revels in being a grandparent.