‘Badjelly the Witch’

Press, 25 August 1986, Page 8

‘Badjelly the Witch’

“Badjeliy the Witch,” by Spike Milligan, adapted by Alannah O’Sullivan, directed for Canterbury Children’s Theatre by Elody Rathgen, musical director Neville Forsythe, at the Repertory Theatre, August 23 to September 6. Running time: 2 p.m. to 3.3 S p.m. Evenings from 7 p.m. Reviewed by Lindsay Clark. This is the third staging for the children of Canterbury of Spike Millgan’s near-classic tale and as such is achieving its own tradition. It is not difficult, reviewing the latest capably directed production by Elody Rathgen, to find reasons for its continuing popularity.

Familiar to many as a bed-time accessory with the right blend of stem morality (yes, the goodies and divine intervention triumph) and spice (bare bottoms and touserrobbers), the story translates to the stage as a fast-moving, energypacked divertissement loaded with colour and interest. If this sounds like a new breakfast food commercial, consider the following justifications. For a start, the quest undertaken by the children to recover their bovine ingenue (lovely but dim-witted Lucy) in the face of mindless malice (Badjeliy) and brute force (Dulboot) is a sure atten-tion-grabber, The threat of their ending up as boygirl soup or sausages cannot be easily dismissed, even when they enlist the help and support of such feisty tacticians as Binklebonk. Mudwiggle, and

Dinglemouse, not to mention the ultimate deus ex machina, Jim the Eagle.

Then, from the crisp tempo set under Neville Forsythe’s opening musical statement came a barrage of lively and tuneful engagements. The contribution of the organ was especially appropriate, setting the story-time atmosphere lightly but efficiently, all against an inventive set where cutouts of the same storybook charm were able to accommodate magically descending prison bars or a castle tower. Interesting, entertaining stuff. In this production, the cast, too, responded well to the challenge of making delight and fantasy accessible for the usual wide audience — for many of whom this would be a first theatre trip.

The players had the shining faith and expectations engendered from the carnival atmosphere of the theatre foyer with its balloons, stickers, and magnificently iced raffle cake. To their credit, audience participation was eager and indeed unstoppable at every invitation.

In such a climate, early nerves and some breathlessness were quickly replaced by confidence and control. As Badjeliy, Lynne Aldridge provided a thoroughly satisfying focus for the action, though more imaginative lighting would have’ enhanced the spine-chilling shrieks with which she made her entries. Similarly, the vindictive inten-

sity of her appearance and vocal presence was not really matched by the rather tame choreography of her musical numbers. It is fair to say, however, that all this was probably irrelevant for her most important audience. Similarly, the stagey posturing and mannerisms of Rose (Alison Harding), whose performance was otherwise brightly energetic, were a source of minor irritation for this viewer. David Lang’s contribution as Tim was relaxed and capable, while Bruce Gordon ' shone as Dulboot (and the voices of God and Silly Sausage). Special mention should be made of Margaret Fife’s versatile dual role of Mudwiggle and Dinglemouse to say nothing of an extraordinary vocal contribution as Tin Lion). Make-up and costume are traditional delights in Canterbury Children’s Theatre. This production was no exception, though it was perhaps at the expense of audibility as in the case of Jim the Eagle, whose magnificent plumage probably mattered more in the long run than what he said.

Special effects also had their entertaining moments, and all in all, the final words perhaps belong to the character who pronounced, while surveying the still smoking scene of Badjelly’s eventual rout: “I wouldn’t have missed this for anything.” Alternatively, one could always say “Stinky poo and knickers to you.” Certainly some Canterbury children will want to try it out.