August 27th saw the opening of my adaptation of Judith Kerr's classic picture book, THE TIGER WHO CAME TO TEA.
So far the reaction has been very positive. We opened to full houses at the Bloomsbury Theatre, London on August 27th, and now the show begins a long tour. Dates are confirmed up until Christmas 2008.
I was really delighted to be offered the opportunity of adapting THE TIGER WHO CAME TO TEA, which was my daughters' favourite book when they were small. My wife and I never got tired of reading it to them.
'Photo by Bob Workman'
The production comes from the same company that has been touring THE GRUFFALO for several years.
My thanks to Nick Brooke and Kenny Wax for giving me this lovely job. I have directed the production as well, with several of my usual team on board. Susie Caulcutt as designer, Peter Pontzen as musical arranger and supervisor, Emma Clayton as choreographer/assistant director and Neil Hillyer as company manager.
The cast, none of whom I have worked with before, are all delightful. Abbey Norman, Alan Atkins and Devon Black play the perfect family! And Alan plays the Tiger too!
1st September – 2nd September The Pavilion Theatre, Worthing
Monday 1st - 2 pm and 4.30 pm
Tuesday 2nd - 11 am and 2 pm
4th – 6th September Greenwich Theatre
Thursday 4th - 2.30 pm
Friday 5th - 11 am and 1.30 pm
Saturday 6th - 11 am, 1.30 pm and 4 pm
11th – 13th September Grand Theatre, Belfast
Thursday 11th - 4.30 pm
Friday 12th - 2 pm and 4.30 pm
Saturday 13th - 10 am and 12 pm
17th – 19th September Clwyd Theatre, Cymru
Wednesday 17th - 1.30 pm and 4.30 pm
Thursday 18th - 10.30 am and 4.30 pm
Friday 19th - 10.30 am and 4.30 pm
22nd – 23rd September The Key Theatre, Peterborough
Monday 22nd - 1.30 pm and 4.30 pm
Tuesday 23rd - 10.30 am and 1.30 pm
25th – 27th September Regent Theatre, Stoke
Thursday 25th - 10.30 am and 1.30 pm
Friday 26th - 10.30 am and 1.30 pm
Saturday 27th - 10.30 am and 12.30 pm
29th – 30th September Wyvern, Swindon
Monday 29th - 1 pm and 4.30 pm
Tuesday 30th - 11 am and 1.30 pm
2nd – 4th October New Victoria Theatre, Woking
Thursday 2nd - 1.30 pm and 4.30 pm
Friday 3rd - 1.30 pm and 4.30 pm
Saturday 4th - 10.30 am and 12.30 pm
6th – 7th October BIC Bournemouth
Monday 6th - 1.30 pm and 4 pm
Tuesday 7th - 11 am and 4 pm
9th – 11th October King’s Theatre, Glasgow
Thursday 9th - 11 am and 5 pm
Friday 10th - 11 am and 5 pm
Saturday 11th - 10.30 am and 12.30 pm
14th – 15th October Princess Theatre, Torquay
Tuesday 14th - 2 pm and 4.30 pm
Wednesday 15th - 10 am
16th – 18th October Richmond Theatre
Thursday 16th - 10.30 am and 1.30 pm
Friday 17th - 10.30 am and 1.30 pm
Saturday - 10.30 am and 12.30 pm
22nd – 25th October Arts Theatre, Cambridge
Wednesday 22nd - 1 pm
Thursday 23rd - 10 am and 12 pm
Friday 24th - 10 am and 1 pm
Saturday & Sunday - 10 am and 12 pm
27th – 28th October The Point Theatre, Eastleigh
Mon 27th & Tues 28th - 1 pm and 3.30 pm
30th October – 1st November Royal Theatre, Brighton
Thursday 30th - 10.30 am
Friday 31st - 10.30 am and 1.30 pm
Saturday 1st - 10.30 am and 12.30 pm
3rd – 5th November Devonshire Park, Eastbourne
Monday 3rd - 1.30 pm
Tuesday 4th - 11.30 am and 1.30 pm
Wednesday 5th - 11.30 am and 1.30 pm
6th – 8th November Guildhall Theatre, Preston
Thursday 6th - 1.30 pm and 4.30 pm
Friday 7th - 10.30 am and 1.30 pm
Saturday 8th - 10.30 am, 1.30 pm and 4.30 pm
10th – 11th November Oakengates Theatre, Telford
Mon 10th & Tues 11th - 11 am and 2 pm
13th – 15th November Churchill Theatre, Bromley
Thurs 13th, Fri 14th & Sat 15th – 11 am & 1 pm
17th – 18th November The Grove Theatre, Dunstable
Monday 17th - 4.30 pm
Tuesday 18th - 10 am and 1.30pm tbc
20th – 22nd November Darlington Theatre
Thurs 20th & Fri 21st - 10.30 am and 1.30 pm
Saturday 22nd - 10.30 am and 12.30 pm and 2.30 pm
24th – 25th November Anvil Theatre, Basingstoke
Mon 24th & Tues 25th – 11 am and 2 pm
12th December – 3rd January 2009 Edinburgh Playhouse
Fri 12th, Sat 13th, Tues 16th, Wed 17th, Thurs 18th, Fri 19th, Sat 20th
Mon 22nd, Tues 23rd, Wed 24th, Sat 27th – all at 11 am
Tues 30th, Wed 31st, Thurs 1st Jan, Fri 2nd Jan, Sat 3rd Jan – 11 am tbc
A PRESENT FOR FATHER CHRISTMAS
Walker Books asked me to come up with a story for a book about Father Christmas.
Dana Kubick, the illustrator, wanted to experiment with 3-D.
The result is to be published in the UK in October.
It will also be available in the United States, called A PRESENT FOR SANTA CLAUS.
Several other countries are doing translated versions.
Fingers crossed for a successful Christmas!
In April I was delighted to see two performances of the Nuffield Theatre, Southampton's production of my adaptation of JAMES AND THE GIANT PEACH. Directed by Russ Tunney, with very effective music by Matt Baker. The production was very well received. It was the first time that the Nuffield had presented a full-scale production for children at Easter. Here are some photos from the production taken by Mike Eddowes.
THE WONDER OF THE WEB
Someone asked me why I had never attempted writing a novel. Why had I spent the best part of four decades writing plays? One reason, I suppose, is that I crave an immediate response – hopefully approval. Sitting in an audience, witnessing their reactions, is a luxury denied to the novelist. I remember reading about an author who was overjoyed to sit opposite someone on the train reading a book of his and smiling. Playwrights can experience this first-hand reaction much more easily. In my own case, because I write plays for children, this feedback is essential. The children’s reaction is mercilessly honest. From it I can often tell if the play needs tweaking, or if a strand of the plot is unclear.
Such experiences, however, are almost invariably limited to professional productions of my work, some of which I have directed myself, some of which I automatically get invited to. Sadly I don’t often see amateur, community or school productions of my plays. Other playwrights say the same thing. We seldom know about such productions until several months after they have taken place – when the royalty statement arrives. Many’s the time I have received information in this way and wished I could have seen the production. Please note, everyone who is putting on a production, that when you apply for a licence to Samuel French or Josef Weinberger, news of your forthcoming show is not automatically passed on to the playwright. Not unless you send a letter and ask for it to be forwarded, will the playwright know about it.
Having said that, technology has changed things a little. Now I have a website, and visitors are encouraged to leave a message. As a result, over the last couple of years, I have been lucky enough to receive messages from all over the world. Sometimes the sender asks for information. Sometimes advice is sought. Sometimes I get invited to a production. Sometimes I receive a report of a production. This has brightened up my life no end! Contact with practitioners at the sharp end, especially when they write positively, makes it all seem worthwhile and real! When what is often a fairly hard grind at the desk turns into something that gives people pleasure performing and watching, the process doesn’t seem quite as lonely.
Here are a few examples. Nick Strudwick recently wrote: “I have just had the pleasure of directing a very successful production of James and the Giant Peach at the Abbey Theatre St Albans. I had a wonderful cast and a designer and construction team who created an innovative and believable set. We gave 15 performances in our 230 seat theatre and averaged around 80 percent for the run. It was one our most enjoyable and enjoyed Christmas shows.”
He says they are now thinking of doing another one of my titles, THE GINGERBREAD MAN, for Christmas 2008.
Justin Joseph teaches drama at the Latymer Upper School, Hammersmith. He wrote: “ I am a drama teacher and put on your version of Babe the Sheep Pig last year, which proved hugely enjoyable. We had the trial sheep as bolshy super-models in white coats, black wigs and dark glasses, a Russell Brand cockerel and a Pavarotti turkey. Great fun.”
This was very encouraging, because I have always felt that BABE, THE SHEEP-PIG was ideal for school productions. It has a large cast of animals, which are great fun to play.
Lisbeth Rake contacted me about her production of TOM’S MIDNIGHT GARDEN at the Chesil Theatre, Winchester. I was able to see this production, which was delightful, and only the second non-professional production of the play I had seen. What was particularly interesting was that there were more adults in the audience than children. And the story certainly seemed to appeal to them. It reaffirmed what I have often felt – children’s plays are not only for children’s audiences. First, there is a child in all of us, who responds to good stories. Second, if the children are enjoying something, the adults tend to enjoy it even more, BECAUSE the children are enjoying it.
A young man called Daniel told me he was in a youth group presenting SAVE THE HUMAN. This play, in my biased opinion, doesn’t get performed enough! Daniel pointed out that his youth group chose it because it had something important to say, but was fun to perform as well. That comment was very reassuring.
Lucy McKee shared with me her concerns about putting on a school production of DINOSAURS AND ALL THAT RUBBISH. I was able, I hope, to reassure her. Aaron Davies asked if there was a band score for THE SELFISH SHELLFISH. Sadly I couldn’t help him there. There is a piano score only. Maybe he was able to do his own arrangements.
Su Swann is doing a production of THE OWL AND THE PUSSYCAT WENT TO SEE..., one of my earliest plays, but still a favourite. She wanted to know if any costumes were available for hire. I suggested she contact the Brentwood Theatre, who were about to mount a professional production. This made me wonder if someone ought to start a service for amateur theatre, whereby societies and other groups could give information to a central point, offering for hire specialist props and costumes from their own productions to other groups thinking of mounting the same play. Maybe this already exists? But I know that several people have approached me over the years asking if I knew of a giant flowerpot available for hire, to use in my play THE PLOTTERS OF CABBAGE PATCH CORNER.
In the summer of 2007 I was lucky enough to direct a production of my own adaptation of Roald Dahl’s FANTASTIC MR FOX at the Open Air Theatre, Regent’s Park. We all had a great time, and it convinced me that this play is ideal for schools and amateur societies who want a play with a large cast. It was originally written as a community play for the Belgrade Theatre, Coventry. 6 professional actors were joined by 70 local performers, ranging in age from 8 to 80! At Regent’s Park we augmented the 6 professionals with 7 splendid drama students and 24 children. They all played family groups of animals. The play is performed as a play within a play, watched by all the animals, who are therefore on stage all the time, and often take part in the scenes too. In some ways it reminded me of the adaptation of ROBIN HOOD I worked on some years ago, with Dave and Toni Arthur. Again, this involves a large cast of villagers, celebrating May Day by telling the traditional Robin Hood stories.
2007 finished on an upbeat for me, going to see the Youth Theatre based at Chichester Festival Theatre, performing, on the main stage, my adaptation of Roald Dahl’s JAMES AND THE GIANT PEACH. 72 young performers strutted their stuff, splendidly supported by a professional creative team, including 6 musicians. Chichester put this production on as its only Christmas show. It played for two weeks, and was seen by 20,000 people. Not only was the production splendidly directed by Dale Rooks, it was very exciting to see that number of actors on the stage! How often does that happen in the professional theatre?
Good luck to you all with whatever you are planning for Christmas 2008. Please remember that this is the best time of the year to introduce children to the magic of theatre. Not only will you and your audiences have a happy time, but, if you decide to do something for a young audience, you will be sowing the seeds for the success of your company in years to come by creating the audience of tomorrow.
And don’t hesitate to let the playwright know you are putting on his or her play! I promise you they will be flattered and will make every effort to attend a performance, should they get an invitation!
The Times review of The BFG
Roald Dahl’s tale of a plucky orphan, a benevolent giant and a visit to the Queen has been a family favourite for more than 25 years. David Wood’s 1991 stage adaptation is almost as well loved, and in this new staging by Roman Stefanski it is full of the gentle charm, skewed dark humour and winning weirdness that are the hallmarks of Dahl’s writing for children.
The story’s heroine was inspired by the young Sophie Dahl, the author’s now supremely glamorous granddaughter. Played here by Susan Harrison as a flame-haired, bespectacled, eminently practical child, she lives in a horrid orphanage run by the sadistic Mrs Clonkers. One night an enormous shadow falls across the cheerless dormitory and Sophie is whisked away in the palm of the Big Friendly Giant (Tim Barlow), who wanders the world at night administering dreams to sleeping children and who is eager to prove to “human beans” that giants exist. The BFG is touched by Sophie’s parentless plight – and worried by the activities of a bunch of much less benign giants, who bully him and who, unlike the vegetarian BFG, go on nocturnal rampages to feast on human flesh. Sophie reckons that the only way to deal with them is to enlist royal help - leading to unprecedented scenes at the Palace.
Stefanski, formerly a member of the Spitting Image team, directs a production designed by Keith Baker that combines live action with hand puppets, quivering full-sized latex creations, shadow play and animated backdrops reminiscent of Quentin Blake’s original illustrations for Dahl’s book. Often this works brilliantly, as when the BFG’s enormous eyes are glimpsed peering alarmingly through the Queen’s curtains into her bedchamber. And when Sophie is transported to the BFG’s home, she changes from a flesh-and-blood actress to a Lilliputian, doll-like figure manipulated by the sparky Harrison. Elsewhere, however, there’s a lack of pace and scale.
But the whole is too good-natured to permit much complaint. Dahl’s extravagant language, peppered with words such as snozzcumber (the BFG’s noisome staple food), wondercrump and scrumdiddly-umptious, is delivered with relish. The bad giants are an exuberantly bloodthirsty bunch, who charge from stage to auditorium terrorising the children into delighted squeals and giggles. And Barlow and Harrison are a beguiling double act. With his pointy ears, billowing cape and faintly cadaverous appearance, Barlow’s BFG has a touch of Max Schreck’s Nosferatu about him. But even if he weren’t so twinkly affable once he opens his mouth, Harrison’s dauntless, diminutive Sophie would be more than a match for him. A sweet little treat.
STOP PRESS.... STOP PRESS.... STOP PRESS....
Just heard that the Octagon Theatre, Bolton's 2006/7 production of JAMES AND THE GIANT PEACH directed by Sarah Esdaile, won the Award for Best Family Show at the Manchester Evening News Awards, presented in December 2007. Delighted!
DANNY CHAMPION OF THE WORLD REVIEW
The Birmingham Stage Company production of DANNY THE CHAMPION OF THE WORLD has arrived at the Bloomsbury Theatre in London for Christmas and New Year. Congratulations to Phil Clark and the entire team on this review in TIME OUT ...
THE OWL AND THE PUSSYCAT REVIEWS
Sitting in Brentwood Theatre watching a delightful production of THE OWL AND THE PUSSYCAT WENT TO SEE..., I couldn't help thinking that none of the excellent cast were anywhere near born when Sheila Ruskin and I wrote the play in 1968! The fact that it still works and the audience still react in exactly the same way is really rather reassuring!!! I have never believed that children have 'changed' in the last 40 years. Yes, they are all more used to fast computer graphics and sophisticated animation, but the magic of live theatre still works a treat for them! Here is the review from The Stage.....
The Owl and the Pussycat went to see…
Simple charm and unfussy delight are keynotes of this small show with an enormous heart.
Absolutely everyone engages with director David Toltek’s vision of Edward Lear’s hilarious nonsense world with great commitment. It’s pure entertainment with enchanting props such as the pea green boat, many by master carpenter John Dobson.
Louisa-Marie Hunt’s energetic Quangle Wangle’s house has a Christmas pudding roof while Robert Paul’s nastily hopping, very hungry Plum Pudding Flea is round and stuffed with raisins.
Jack Merivale’s anxious, long tall Owl has round NHS-issue glasses while Sarah Rushton’s Pussycat is a nicely brought up young lady.
James Sinclair’s affectingly sad, anxious and lugubrious Dong with the luminous nose is quite lit up nasally speaking. Even though he can’t get married to Penelope Lambton’s charming Jumblie Girl who has a strong singing voice. Julia Curle’s long-handled Runcible Spoon sleepwalks elegantly while Colin Reed’s Turkey gobbles and moves to great effect.
Barry Davis’ ingenious multilevel set is a super background for Joy Dunn’s costumes showing Dr Seuss-style witty imagination. Paul Tomkinson’s choreography captures the creatures’ characteristics, making excellent use of spaces.
Having arrived tense and flustered, this show’s honest and joyful entertainment calmed me through and through. A treat.
TOM'S MIDNIGHT GARDEN REVIEWS
The Independent
Tom's Midnight Garden, Library Theatre, Manchester
Magic when the clock strikes 13
Reviewed by Lynne Walker
Published: 21 December 2007
Thank goodness for Manchester's Library Theatre, which takes the opportunity to present children with something a bit more intellectually challenging and even morally weighty than pantomime at this time of year. Not that its production of Tom's Midnight Garden is at all worthy. Quite the contrary, it's a delight.
Philippa Pearce's story of the boy, Tom – whose world turns upside down when he hears a grandfather clock strike 13 – was first published in the 1950s, the period in which the adventure is set. Although David Wood's adroit adaptation has done nothing to modernise it, in this haunting production at least the tale seems timeless in its ability to enthrall and enchant.
The television versions (three at least over the years) may have had big budgets to splash on grand mansions, lavish gardens, gleaming, winged angels and panoramic views from Ely Cathedral tower. Even so, Roger Haines's simple, noirish production is none the worse for its paucity of set and props. Liam Steel, co-director with Haines, has been responsible for the show's superbly integrated movement and innovative choreography, which is meticulously tailored to both the chronologically challenging narrative and the many scenes through which it passes – forwards and backwards in time, and at a varying pace.
With the exception of those playing Tom and the lonely Victorian orphan with whom he makes friends, Hatty, the eight-strong cast double up in named roles as well as representing a kind of anonymous Greek chorus. Costumed in drab grey overcoats and hats and brandishing walking sticks, they create a perfectly synchronised team of ghostly scene-creators and scene-shifters. Bars on a window, sweet-pea frames, greenhouse, underground tunnel, horse and carriage – there's apparently no limit to this ensemble's versatility as they morph into a sinister chorus of nightmare beings casting an unsettling spell on proceedings.
The swivelling from 1950s life – where Tom, quarantined for measles, is ensconced in a grim little flat with his boring uncle and aunt – to a parallel dimension in Victorian times has little of the glitz we associate with time-travel today, but rather a subtle magic. Arthur Wilson makes a credible young Tom, while Claire Redcliffe is a vulnerable Hatty, so blanched in look and so fragile that you begin to believe she could be a ghost. Carolyn Tompkinson creates a perfect parody of a 1950s housewife, while Helen Ryan switches smoothly from the old landlady whose clock has such supernatural power to the heartless guardian, stingy in everything except constant reminders of her "charity" towards Hatty.
Richard Taylor's substantial musical score plays a vital role in establishing mood and atmosphere, while Jamie Vartan's monochrome set conveys the sunlit garden through suggestion, with clever use of dappled shadow. Scrooge seems to have had a hand in the lighting, which is permanently muted – to great theatrical effect, however. The transformations between the two worlds and their inhabitants become increasingly complex as Hatty ages faster than Tom and he becomes temporarily trapped in the past. Who and what is real becomes a troubling issue, as time and reality threaten to spin out of control. The garden, with its ancient sundial wall and mighty tree, takes on a ghostly element as it appears to be a projection from the elderly landlady's memory. But never do we feel manipulated, merely intrigued. And the packed audience of children who screamed and giggled in the opening few minutes were quickly silenced by this evocative story of childhood and growing up. Like Tom, they appeared to want to stay in this fantastical midnight garden for ever.
Roger Haines' exciting, award-winning production of my adaptation of Philippa Pearce's TOM'S MIDNIGHT GARDEN has been superbly revived at Manchester Library Theatre, where it runs till January 12th. I was thrilled to see it again. Here are some reviews....
“What a show! It maintains the high quality Christmas productions we’ve come to expect and enjoy at the Library Theatre over the last 55 years. You won’t be disappointed”
Manchester Evening News
To read the full review, please click here.
“If you’re looking for somewhere to take the youngsters that doesn’t involve screaming and shouting at the performers, then you can’t go far wrong with this”
BBC Manchester Online
To read the full review, please click here.
“I urge you all to head down to the Library Theatre for their seasonal offering of Tom’s Midnight Garden… When you add all the parts together, it forms a formidable offering”
Entertainment Manchester
To read the full review, please click here.
“Every element of the production seems to marry together perfectly… A very enjoyable and impressive production”
British Theatre Guide
To read the full review, please click here.
“A fantastic piece of theatre… Tom’s Midnight Garden is a piece of excellent, imaginative and powerful theatre that will keep both children and their parents spellbound”
Manchester.com
To read the full review, please click here.
“The joyous final resolution, crossing ages and generations, confirms this as one of the finest pieces of work for young audiences from the century’s first decade”
Reviewsgate
To read the full review, please click here.
CHICHESTER FESTIVAL YOUTH THEATRE
The splendid Chichester Festival Youth Theatre, under the expert direction of Dale Rooks, have opened their magical production of my adaptation of Roald Dahl's JAMES AND THE GIANT PEACH in the main house of Chichester Festival Theatre.
It was very exciting to see 72 young people strutting their stuff, beautifully supported by the professional team. Excellent music from Jason Carr. Inventive choreography by Rose Ryan, and eye-catching design of set, costumes and lighting. It finishes on December 29th. Well worth getting a ticket - if you can!
Here is my programme note for the production:
When I heard that the Chichester Festival Youth Theatre wanted to do my adaptation of Roald Dahl’s JAMES AND THE GIANT PEACH I was really, really pleased.
For five good reasons!
Reason 1: Dale Rooks and the Youth Theatre have a glowing and growing reputation for putting on large-scale, large-cast imaginative and exciting productions on Chichester’s main stage. I couldn’t wait to see them get their skilful hands on one of my plays.
Reason 2: When I adapted JAMES AND THE GIANT PEACH a few years ago, in my head I always imagined it being performed by a large company of young people. I wrote in crowd scenes of Giant Peach sightseers and New York tourists, plus opportunities for puppetry (seagulls and sharks). But most major productions so far, in the UK and in the US, have been disappointingly modest in scale. Now I’m looking forward to a production that pulls out all the stops, with 72 actors on stage, and lots more people off stage making all the wheels turn smoothly.
Reason 3: Of the six (so far) Dahl books I have been lucky enough to adapt, this is one of my special favourites. The fantastic (in both senses of the word) story and the larger than life characters cry out to be played on stage. There are lots of opportunities and challenges to create theatrical magic – the peach growing, flying and falling, for starters. The rich language and use of verse inspires the creation of music and song. And – as so often in Dahl – there is the heartwarming satisfaction of following the journey of a young hero whose determination, ingenuity and bravery triumphantly help him succeed against all the odds.
It is remarkable that JAMES AND THE GIANT PEACH was the very first children’s book Dahl wrote. Not only is it totally successful, it feels totally original, and in many ways it is. Yet Dahl is never afraid to create sparkling new wine in old bottles.
James’ growing peach is reminiscent of Jack’s beanstalk. His fiendish aunts must be related to Cinderella’s stepsisters. The talking insects are not a million miles away from the creatures in Alice’s Wonderland.
So the book observes some of the traditions of great British children’s stories. But then it breaks the mould. Who else would dare to kill off the hero’s parents on page one of the book? And who else would include a terrifyingly realistic picture of New York under possible threat of invasion (read it again in the light of the events of 9/11 and see what I mean)?
Reason 4: The play is performed by the young people of Chichester.
Nearly 50 years ago (can it really be 50?) I was a member of the Chichester Youth Drama Group, run by a wonderfully enthusiastic and eccentric lady called Madeleine Chatters. We entered one-act play festivals at the Capitol Theatre, Horsham.
I cut my acting teeth playing Algy in THE IMPORTANCE OF BEING EARNEST (Jack was played by Howard Brenton, who was to become one of our most famous playwrights).
Happy days that shaped my future. No splendid Festival Theatre in those days. No waiting list to join our small but keen group. Terrific how times have moved on, and how youth drama here has prospered.
Reason 5: This is my favourite theatre. As a theatre-mad teenager at Chichester High School in the early 60s, imagine how exciting it was to be taken in crocodile formation to Oaklands Park to see Princess Alexandra lay the foundation stone for this amazing building, then to watch it being built, a couple of years later to see the very first play on its stage (THE CHANCES), and then, thanks to a tip-off from my influential English teacher Norman ‘Spiv’ Siviter, who was also Secretary of the Friends of CFT, to appear as an extra in the second season (1963) in SAINT JOAN and THE WORKHOUSE DONKEY.
Later I appeared here as an actor in TERRA NOVA (1980) and directed two of my plays for Christmas seasons – THE OWL AND THE PUSSYCAT WENT TO SEE … (1976) and THE GINGERBREAD MAN (1987).
I love this theatre. Its raked seats around the thrust stage uniquely and warmly carry the audience into the action of the play. It’s so special. And to come back and see a huge cast of young people in my adaptation of JAMES AND THE GIANT PEACH is an extremely large and juicy cherry on my Chichester cake.
HOCUS POCUS!
On October 24th, 2007, I much enjoyed the launch of Paul Kieve's excellent book for children (and oldies, I reckon!) HOCUS-POCUS.
I have given the book a deservedly glowing report on Amazon.
The launch took place at The Magic Circle. Here is a photo of yours truly with old friend and colleague The Great (George) Kovari and Paul Kieve.
George was my much-valued magic adviser on MEG AND MOG SHOW and Paul created the illusions for my production of THE WITCHES. Good luck with the book, Paul. I really admire its originality, fun and page-turning style.
Autumn has taken me a bit by surprise! I really need to update certain sections of the website. In the meantime, here is some information about forthcoming productions, running over the Christmas 2007 period.
First to open is the Polka Children's Theatre, Wimbledon production of my adaptation of Roald Dahl's THE BFG, directed by Roman Stefanski. Roman directed the delightful Polka production of my adaptation of JAMES AND THE GIANT PEACH a few years ago. I have attended some rehearsals and THE BFG looks as though it will be great fun. It runs from November 9th to February 9th.
The Duke's Theatre, Lancaster open their production of my adaptation of Roald Dahl's THE TWITS on November 23rd. It runs until January 5th. Some years ago the Duke's presented a very enjoyable production of THE BFG, featuring Anthony Pedley, who has played the part for me in three tours and West End seasons! Hopefully he will be returning to the role soon.
I am delighted that the Library Theatre, Manchester have decided to revive their award-winning production of my adaptation of Philippa Pearce's TOM'S MIDNIGHT GARDEN, directed by Roger Haines. This splendid production got great reviews and will hopefully be as well received second time around. It runs from December 1st to January 12th.
Brentwood Theatre in Essex have regularly produced my children's plays, and this year are doing THE OWL AND THE PUSSYCAT WENT TO SEE ..., the second children's play I wrote (with Sheila Ruskin) back in 1968! It played in all the repertory theatres and in the West End several times. Cameron Mackintosh and I toured it around the UK. The play is still performed by many amateur companies, but has become rather expensive to produce in the professional theatre. So I am delighted that Brentwood are presenting it, nearly 40 years after it first appeared. It opens on December 3rd and runs till December 30th.
The Birmingham Stage Company tour of DANNY THE CHAMPION OF THE WORLD, my adaptation of Roald Dahl's book, has been touring for over a year. The second cast has now settled, and the production comes to London, to the Bloomsbury Theatre, from 11th December to 26th January.
The Chichester Festival Youth Theatre are taking over Chichester's wonderful main house from December 15th to 29th. Dale Rooks is directing my adaptation of Roald Dahl's JAMES AND THE GIANT PEACH with a cast of 72 young people. I can't wait to see it!
Looking ahead into 2008, I am delighted to hear that the Nuffield Theatre, Southampton are due to present my adaptation of Roald Dahl's JAMES AND THE GIANT PEACH in the spring.
On October 19th, 2007 I was delighted to return to the British School in Brussels at the invitation of Hilary Vervaeck, to open the splendidly refurbished Junior Library. I did some BOOKS ARE FUN! sessions too, plus a performance of THE GINGERBREAD MAN storytelling. The School kindly recorded the event.... read more...
AWARD FOR DANNY
It was a delightful surprise to hear that my adaptation of DANNY THE CHAMPION OF THE WORLD by Roald Dahl has won the AATE Distinguished Playwriting Award (adaptation). This is an annual award, presented by the American Alliance for Theatre and Education, and will be presented at an awards ceremony at the AATE Conference in Vancouver in early August. Unfortunately I cannot go to collect the award, but am very happy that Janet Grant, who co-wrote my THEATRE FOR CHILDREN book, lives in Vancouver and will receive the award on my behalf.
This is the second time I have won this particular award - the first time it was for SPOT'S BIRTHDAY PARTY, adapted from the books by Eric Hill.
Meanwhile, the UK tour of DANNY THE CHAMPION OF THE WORLD will soon enter its second year, having been very successfully received in theatres all over the UK since September 2006. Phil Clark directed the splendid production, which is produced by the Birmingham Stage Company.
The play is published by Samuel French Ltd.
FOX IN THE PARK
After four happy weeks of rehearsal, my production of FANTASTIC MR FOX, adapted from Roald Dahl's book, has opened at Regent's Park Open Air Theatre. I thoroughly enjoyed directing the play for the first time, and it was very enjoyable doing it in the open air, in spite of the uncertainty of this summer's weather!
The audiences are large and enthusiastic. The play runs until August 25th. Full details on the website of the Open Air Theatre.
Last year I saw an excellent version of 'Babe The Sheep Pig' at the Open Air Theatre. This year, the children's play is a Roald Dahl offering which sets an assortment of digging and burrowing animals - badgers, weasels, rabbits, moles and foxes - against some rather unsavoury humans.
The children's play at the Open Air theatre always seems a more electrified event than the evening performances. There's an almost tanglible excitement around the theatre grounds prior to the play starting as junior theatre-goers find it difficult - and in some cases impossible - to contain their anticipation. But there's another reason why this annual event has become a worthy occasion. David Wood, the director and adaptor of this piece, has a sensitivity and professionalism that deserves more recognition and praise than it probably generally receives. If my reckoning is correct, Wood has now been writing and producing children's theatre for some 40 years - another celebratory occasion which fits nicely with the Open Air Theatre 's 75th anniversary this year.
Wood certainly doesn't make life easy for himself. I'm sure it would be possible to avoid much hard work and even some aggravation if he worked largely, or solely with adults. But there's always a substantial number of juvenile actors in Wood's plays and 'Fantastic Mr Fox' is no exception. And, as always, the child actors are schooled pretty-well near to perfection, maintaining character and never requiring prompting by any of the adults in the cast.
Dahl's story is about three farmers who are fed up with Mr Fox stealing their poultry. They mount a monumental assault on Mr Fox's lair, even resorting to mechanical diggers to get at their quarry. The fox family are driven to the point of starvation as are the other 'diggers' in the neighbourhood.
Peter Duncan - best known for his role as a presenter in the BBC TV children's programme 'Blue Peter' - digs his way to a happily-ever-after conclusion as Mr Fox. Duncan has also been playing the role of Macduff in the Open Air's current production of Macbeth. Here, though he's still in conflict, it's a more jocular characterisation. Duncan certainly captures something of the fox with the kind of open-mouthed grin that foxes seem to display whenever I see them in wildlife films.
Anthony Pedley is again in the cast, fully utilising his rich and mellow diction as Mr Badger, who narrates the story. And I enjoyed Christian Edwards' disgustingly larger-than-life performance as Farmer Bean, and his snivelling portrayal of Rat.
Dahl skates over the moral issues in this play with some nifty footwork - even though some might find his moral code rather less than totally convincing. The most important issue is whether stealing is acceptable. Dahl seems to assert that it is, justifying his reasoning by saying that the animals only steal the food they need to survive. I'm sure a doctoral thesis could be written on that one, but I suspect it might require some nimble brain work from parents on the journey home to explain it to enquiring minds.
This year's audience seemed, on the whole, a little younger than last year's. I don't know if that's sheer coincidence, reflects the nature of the play, or is simply indicative of the fact that there's an increasing gap between me and the younger members of the audience. However, the play itself also seemed to be pitched at a slightly younger age group – maybe the 6-8 year olds as opposed to those closing on 10.
It's always hard to compare two shows, and to be scrupulously fair I suppose one really shouldn't. But if I had to give a preference, I think last year's show, 'Babe', had a little more meat (no pun intended) in the storyline and the focus seemed to be on emotions arising from more complex situations rather than humour. In 'Fantastic Mr Fox' there's more to laugh at and more opportunity for audience participation in the form of booing and hissing – always appreciated by parents as much as their offspring!
The artistic director at the Open Air Theatre, Ian Talbot, is giving up his role at the end of the current season. Whatever the plans of the new incumbent, it's to be hoped that the children's play survives because, as I said last year, it's a beacon of exemplary children's theatre. And 'Fantastic Mr Fox' certainly continues the tradition with a great value, and fantastically enjoyable afternoon's entertainment.
At last some sunshine and how appropriate that it should accompany the opening of David Wood’s thoroughly entertaining stage adaptation of Roald Dahl’s Fantastic Mr Fox.
While taking good advantage of this perfect outdoor environment, Wood stays true to the original text, while employing welcome dramatic devices to propel the action along.
One example of this is the way all the different animals in the tale are introduced from the beginning, many of them remaining onstage throughout. As a result the actors involved become a chorus of sorts as they play out the story, with Anthony Pedley’s aristocratic Mr Badger taking on the role of narrator.
From the word go the young audience are quick to boo and hiss the “fat, short and mean” farmers Boggis, Bean and Bunce, who become obsessed with thinking up ways of killing the clever fox who steals their produce. Gary Bates, Michael Geary and Christian Edwards time their Marx Brothers-like slapstick perfectly and on the whole are as repulsive as one would hope (even if Bates’ Bunce needs to pile on a few more pounds).
In fact, the whole ensemble impresses, although special mention must go to Mr and Mrs Fox as played by Peter Duncan and Emma Clayton.
The production’s definite icing on the cake is its musical content. John Kirkpatrick’s infectious songs serve and complement the text brilliantly as does the tiny detail of musical director’s Peter Pontzen’s delightful incidental music.
Set and costume designer Susie Caulcutt also has some original ideas up her sleeve, ranging from collapsing trees to chicken headwear.
All in all, a wonderful distraction for children four years old and up.
Everyone knows foxes are clever; bold, wily London foxes who have figured out how to open up wheelie bins and hang about the back doors of restaurants to get the best leftovers, and the country foxes who live by their wits and get into chicken coops. At the Open Air this summer, there is a play about a particularly clever one. Jo Fletcher-Cross went to find out why this one is Fantastic Mr Fox…
I love Roald Dahl, so I am very happy to be sitting in the sunshine watching David Wood’s adaptation of the classic children’s story, Fantastic Mr Fox. I have brought along some discerning audience members with me, Lily, age four, and Ben, who is seven, to make sure I know what is going on.
From the charming opening, where all the animals come on and dance, to the introduction by wise old Mr Badger (Anthony Pedley), who acts as our narrator for the rest of the show, we are hooked into the story of the most amazing digger that there ever was, Mr Fox (Peter Duncan). The four main digger families - the foxes, the badgers, the weasels and the moles – live happily in the woods, with Mr Fox providing for his family by stealing chickens, ducks and geese from the local farmers.
Unfortunately, the farmers are getting a bit tired of this behaviour and set out to get him. The horrid trio of Farmers Boggis (Michael Geary), Bunce (Gary Bates) and Bean (Christian Edwards) come up with a plan to kill him, but only manage to shoot off his tail. There the hardships begin, as the farmers stake out the fox hole and Mr Fox’s family have to dig deep and go into hiding.
Susie Caulcutt’s simple, lovely design features a hill with the home of the foxes hidden inside, which is revealed from behind a curtain as Mr Fox brings home some food for his wife and the little foxes. The detailed, rural-style costumes of each animal are highly effective (though there is some initial confusion with the black and white badgers, as Lily thinks they are pandas, but that is soon cleared up), particularly the chicken hats which the whole company wears to represent the hysterical inhabitants of Boggis’s chicken house number one.
The animal family children are played by a team of talented singing and dancing kids. Their taunting rhyme about the farmers – “Boggis and Bunce and Bean, one fat, one short, one lean; these horrible crooks so different in looks, were none the less equally mean” – is hotly disputed by Lily, who hates Bean the most because he makes all the plans, and thinks the other two are just stupid and following him into it. Boggis in particular is definitely none too bright, a stumbling bearded fool who is enjoyably felled by a tree.
There is some very satisfying hissing and booing to be done as the farmers vow death to the foxes; and even some singing along at the end. David Wood has directed as well as adapted this story of wit and wile versus greed and stupidity, which made me laugh in all the right places. It is recommended for those aged over four; those a bit older, like me, will enjoy it too.
Last Christmas the Octagon Theatre, Bolton presented a delightful production of my adaptation of Roald Dahl’s JAMES AND THE GIANT PEACH.
This play is doing well in the United States too, which is appropriate, as the story ends with James and his insect friends living in Central Park, New York!
I was delighted to visit the Dallas Children’s Theatre production of the play in March 2007. Directed by my friend Artie Olaisen, the show is getting great audiences and excellent reviews.
You meet some fantastic creatures when you enter the world of Roald Dahl, whether it's the eccentric candy maker and oompa-loompas of Charlie and the Chocolate Factory or a dream-catching giant who refuses to eat humans (or human beans as he calls them) in The BFG , also known as The Big Friendly Giant.
And then there's a peach that grows large enough for a boy and his insect friends to sail it across the Atlantic in James and the Giant Peach, now in an exuberant production at Dallas Children's Theater through April 22.
So how does a theater convey a growing peach on an ocean journey?
That's the kind of challenge that should give a sensible theater pause, which is probably one of the reasons you don't see James done terribly often. But the ingenious, true-to-the-book script helps. It's by David Wood, a British playwright and an old hand at adapting Dahl. And happily, the direction by Artie Olaisen channels the magic by keeping the emotions real amid the mad (and funny) excesses of Randel Wright's endlessly inventive sets: a back screen that an image of the peach swells to fill, a falling (peach) ball from the theater rafters, explosions of confetti into the audience and a fluorescent underwater scene as James dives in to save Centipede.
James (the appealing Johnny Sequenzia) tells his story as a flashback, recounting how he was orphaned and moved in with his nasty aunts: skinny Spiker and rotund Sponge (played with dark, comic relish by Kineta Willow Massey and Crystal M. Bratton, respectively).
Like a Cinderfella, James longs for escape. It comes in the form of a mysterious old man who offers him a bag of brewed crocodile tongues that turn out to be magical.
And this is the point where the fairy tale turns into an empowerment tale. James must decide if he dares to become a leader who will help his new, many-legged friends evade sharks and reach safe harbor.
While there are echoes of many older fairy tales (including Jack and the towering beanstalk that took him to another world), there is also a whiff of Christopher Robin in the way James bonds with his friends.
The terrific five-insect ensemble is colorful – literally and figuratively, thanks to Derek C. Whitener's clever costumes (love all those shoes pinned to the clothes of the multifooted Centipede, who is played with wide-eyed wonder by Forrest Foster). And Seth T. Magill one-ups Eeyore in ferreting out the darkest possible interpretation of every situation ("He's only happy when he's unhappy," says Phyllis Cicero's motherly Miss Spider).
Dahl has a dark, anti-authority sense of humor, and there are four deaths, two of them sad (James' parents), two not (the aunts). But we doubt kids will be troubled. This is, after all, a rattling good tale about a boy and bugs and dreams that come true, all wrapped up in a peach of a show.
Review from Los Angeles Times
'James and the Giant Peach' is ripe with wonders
With an able cast and a striking set, SCR offers a tantalizing twist on an old classic.
CROCODILE tongues, horrible aunts, a ravenous rhinoceros and a boy and his bug buddies at home in a peach: Roald Dahl's fantastical tale "James and the Giant Peach" is chockablock with wonders, a challenge for any theater company to realize on stage.
South Coast Repertory can't quite match the magic or the bizarre tone of the classic in its new production, but David Wood's engaging adaptation, an able professional cast and colorful design elements on SCR's Julianne Argyros Stage give young audiences plenty to ooh and aah over.
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Tousle-haired Alex Miller nicely anchors the strange goings-on as James, orphaned when his parents are devoured by a rhinoceros and forced to serve as drudge for his despicable aunts, Spiker and Sponge.
An encounter with a mysterious benefactor (Tom Shelton) leads to a magic spell gone awry.
The result: A peach swells to enormous size and becomes home — and air and sea transportation — to James and a gaggle of friendly giant insects.
Louis Lotorto and Jennifer Parsons play Centipede and Ladybug, respectively, and double up as James' wicked aunts with comic relish, playfully aided by costume designer Angela Balogh Calin.
Calin has dressed insects and aunts in candy-colored, circus-flavored flights of fancy, making grumpy Earthworm (Shelton) tubular in quilted pink satin and Grasshopper (Gregg Daniel) dapper in a swoopy green swallowtail jacket and knee britches. (The modified leotard look that Diana Burbano sports as kindly Spider, though, is a bit disappointing.)
Set designer Sibyl Wickersheimer provides the modern sculpture look of a framework suggesting the New York skyline. Her painted backdrops representing the mountainous peach get a special glow from lighting designer Lonnie Rafael Alcaraz, who provides spooky shadows and daylight when James and company sail across the Atlantic, braving sharks — unseen, but comically suggested by composer-sound designer Josh Schmidt.
Director Shelley Butler's challenge is to keep the six-member cast from tossing lines to each other in line-up formation on the curving ramp of Wickersheimer's peach-top platform and front strip of flat stage. When she succeeds, connections between actors and between actors and audience rev up nicely, doing justice to this pleasurably odd tall tale.
THE BFG SPENDS CHRISTMAS AT POLKA
Polka Theatre is a wonderful institution in Wimbledon (South London), very near where I live. I was proud to be a board member for nearly thirty years, and am even prouder to have been made a Patron of the Company.
For Christmas 2007 I’m delighted to report that Polka will be presenting my adaptation of THE BFG by Roald Dahl, first seen in Wimbledon (at the Wimbledon Theatre) in 1991.
In fact the very first performance was here, the beginning of a long tour and eventual West End season (the first of three).
Roman Stefanski, who directed a delightful JAMES AND THE GIANT PEACH at Polka three years ago, is directing THE BFG.
Details will soon be available on the Polka website.
Earlier this year I went to Philadelphia to see the Arden Theatre’s lovely production of THE BFG. The run was extended by two weeks, following a great reception and splendid reviews.
The Arden Theatre in Philadelphia's production of THE BFG has been rapturously received, I'm delighted to read!
(Photo's from Children's Theatre, Minneapolis production)
"A charming evening in the theater for adults as well as children!" Philadelphia Inquirer
"Entrancing! Director Whit MacLaughlin (an Arden children's show veteran) and adapter David Wood have given us a myriad of marvelous details, and charm by the bucketful. And, as the BFG himself, Peter Pryor is wondrous. Only minutes into The BFG, I knew the Arden had another BFH (that's Big Fat Hit, of course)." Philadelphia City Paper
"A warm, magical theater experience that the whole family can enjoy! The stage performance of The BFG is filled with clever fun and wonder, incorporating beautiful dreamscapes, puppetry, and elaborate, custom-made masks." GoCityKids.com
"An innovative and triumphant piece of stagework. Witty and imaginative!" The Evening Bulletin
"The best play ever! The BFG is a lovely tale told with great affection.
Truly heartwarming!" Talkin' Broadway
(Photo's from Children's Theatre, Minneapolis production)
"The BFG is Big Friendly Fun. A delight both children and adults alike!" Press Focus
"A funky dramatization of a Roald Dahl story." Philadelphia Inquirer, Holiday Theatre Preview
THE GINGERBREAD MAN STORYTELLING
For many years I have been visiting schools, performing storytellings and giving talks about my own books, especially the novelty ones.
A school day will usually begin with my storytelling version of my play / book THE GINGERBREAD MAN, performed with magic and music for the whole school. This has bever been reviewed before - no critic would venture into a school hall at 9.00 in the morning! But my recent perforance at St. John's College School, Cambridge was attended by Chris Wardle, a well-known magical performer and inventor, who also happends to teach at the school! He kindly reviewed the performance in the magic magazine ABRACADABRA. Here is what he kindly said...
DAVID WOOD'S 'THE GINGERBREAD MAN' As seen St. John's College School, Cambridge on Thursday 8th March Review by Chris Wardle
After seeing David Wood's excellent lecture on entertaining children and hearing about the ways in which he combines storytelling and magic, I immediately invited him to perform at the school in which I work, as part of our Book Week. This proved to be a very special treat for the children.
David performed his own storytelling version of his successful stage play 'The Gingerbread Man' and with just a few simple props, some music cues and his energetic personality, he brought the story to life. Of course there was magic, including a version of instant magic painting, a clever block off rope type escape, with wooden cut outs of the main characters attached to the blocks to illustrate the Gingerbread man's escape, and a magic baking routine, with lots of comedy byplay, to produce around 100 gingerbread men as his finale! David kept over 225 (4 - 9 year old) children spellbound for nearly an hour before leading storytelling workshops for individual year groups. Magic was also in evidence here with his own 'Funny Bunny's Magic Show' book and a clever version of 'Hot Rod'.
David also led some sessions with the older (9 - 13 year old) children in the afternoon, discussing his experiences as an author, playwright and his hugely successful stage adaptations of classic works by Philippa Pearce and Roald Dahl. This was a fantastic day for the children, filled with stories, laughter and magic, showcasing David Wood's talents and demonstrating his communication skills and rapport with children of all ages. If you work within the field of education, then I heartily recommend David's skills and expertise - and you also get a free masterclass into the bargain, watching how he deals with an audience and gets such a lot of business from just a few simple effects.
30 YEARS YOUNG! - THE GINGERBREAD MAN
It seems impossible that 30 years have passed since I wrote THE GINGERBREAD MAN for the Christmas show at the Towngate Theatre, Basildon.
Since then the play has been seen all over the world. Even in countries where Gingerbread Men are completely unknown - like Japan and China!
Sadly it did not prove possible to mount a 30th anniversary production of THE GINGERBREAD MAN, but the play is very much alive, particularly in Germany, where there were several theatre productions at Christmas: including...
In September 2006, the touring production of my adaptation of DANNY THE CHAMPION OF THE WORLD, by Roald Dahl, opened at the New Theatre Cardiff, and I am delighted to say it is proving very popular.
Birmingham Stage Company are presenting the Sherman Theatre, Cardiff production first seen for Christmas 2004/5 in Phil Clark's beautiful production.
The play will be on tour for two years, believe it or not! This includes a long Christmas season 2006/7 at the Old Rep, Birmingham. Neal Foster and his Birmingham Stage Company have toured several of my children's plays.
I am delighted to be working with them again, and have great hopes for this tour. I believe that the story is one of Dahl's best, and children and young adults I talk to often mention it as their favourite.
Review from THE STAGE, Wednesday October 11 2006 at 14:50
Danny the Champion of the World Phil Clark’s production must be the most enjoyable children’s play currently on tour.
Not only that but adults will find that it’s one of the most enjoyable productions for any age currently on tour. The plot may not be complex - young Danny helps his dad’s poaching endeavours, saves the pheasants from nasty Mr Hazell’s shooting party, and makes his caravan home safe from the council - but it is gloriously satisfying and wonderfully staged
Sean Crowley’s design is magnificent, a spectacularly rotating caravan, cars of all sizes coming and going at will, atmospheric woods and fabulous feathered creations.
Some of these are chickens, given glorious voice and life by the cast doubling as an onstage band, and some are pheasants, who perform brilliantly in the second half.
There were times before the interval when there seemed too much exposition for some of its young audience but the public meeting that opens the second half had everyone joining in and by the time we were needed as beaters we were all on our feet, joining in with a will.
Iain Ridley is a convincing and winning Danny. He has a real son/father rapport with Dafydd Emyr’s godlike Dad. Nick Wayland-Evans is wonderfully hateful as Mr Hazell. As for Nia Davies, I don’t know whether to compliment her on her robust Dr Spencer or on her chicken and baby noises.
I had a wonderful time but so, much more importantly, did the very young audience exposed to the absolute magic of live theatre.
THE LIGHTHOUSE KEEPER'S LUNCH
Josef Weinberger Ltd. have now published my musical play for children to perform, THE LIGHTHOUSE KEEPER'S LUNCH, based on the wonderful book by Ronda and David Armitage.
Back in 2000, this play was commissioned by Tish Francis and Hedda Beeby at the Oxford Playhouse.
It was an exciting project, featuring sixty children from each of five schools, who worked alongside two professional actors.
My team accompanied me to the schools, one day a week, over a period of six weeks, leading up to five performances on the main stage at the Oxford Playhouse, each one with sixty different children!
The play is now available for schools, youth groups and anybody else interested in performing it! Weinbergers have done a great job with the publication. It includes a CD with the musical accompaniment, just in case some schools and companies might not have a musical director.
I am hoping that this 40-minute piece will become very popular in schools. From my own school visits, I know that Ronda and David's original book is still very popular indeed.
TIMES ONLINE INTERVIEW
with David Wood
The Times were kind enough to do an article to mark my three Roald Dahl adaptations being performed for the Christmas season. I'm grateful, and am overlooking the fact that they added a few years onto my age! And I can't understand the relevance of the heading they gave the article!!
How to be seriously funny
David Wood, the doyen of children's dramatists tells Brian Logan why kids deserve the best
He’s the Shakespeare of short trousers, an ice-lolly Ayckbourn — and this Christmas three of his plays are being staged in different corners of the land. David Wood is the man: actor, conjurer, one-time Playaway presenter, and our “national children’s dramatist”, responsible for some 60 plays in a 40-year writing career. He has also cornered the market in the great and gruesome stories of Roald Dahl, his hit adaptations of which (specifically, The Twits, James and the Giant Peach, and Danny the Champion of the World) will keep Wood in mince pies through this festive season.
It’s not unusual for Wood’s work to multiply across British stages. His output includes a number of plays now ranked among the classics of children’s theatre. “But where I’ve been lucky,” he says, “is that children’s plays as a whole don’t date.” Wood is 65, but when he grins it’s with the sweetiestealing glee of the eternal six-year-old. Perhaps he’s recalling the three West End runs enjoyed by his version of Dahl’s The BFG. Or the way that, 30 years after it was written, his original play The Gingerbread Man continues to be staged regularly. “Like gingerbread, it is very popular in Germany,” he observes. As the éminence grise of children’s theatre, Wood has plenty to say about the current boom. “It’s one thing for the National Theatre to stage His Dark Materials and Coram Boy,” he says. “But what would please me more would be a regular policy whereby, in any week of the year, there would be something for children to see in one of the National’s three auditoria.”
It’s a drum Wood has been banging for decades. Children’s theatre, he says, “is often seen as an optional extra, rather than something fundamental”.
It’s also patronised — hence the perception that children’s drama equals the adaptation of well-known books. “It should be perceived as a craft,” he says, “just as adult playwriting is.”
That’s why Wood used to write only original children’s titles. But the increasing competitiveness within children’s theatre (for which his success was partly responsible), combined with a 1980s funding squeeze, drove him to adapt his first Dahl, The BFG, in 1990.
As he sat writing the script, the TV broadcast news of Dahl’s death. “It was a very spooky, Dahl-esque moment,” says Wood. “I thought, ‘Oh my God, I hope he hasn’t died becauseI’m adapting The BFG !’ ” In fact, this was the start of a glorious posthumous relationship. The BFG was a smash, and Wood has adapted a further five Dahl novels.
He is not short on reasons why Dahl should lend himself so successfully to live children’s theatre: his characters are larger-than-life; his heroes tend to be children; his fantasies spring, like those of Lewis Carroll and C. S. Lewis before him, from initially mundane reality. And he ratchets up the stakes: if Sophie does not win out in The BFG, all the children of England will be eaten by giants! Dahl is also, says Wood, “a very fair writer. In The Twits, we root for the Muggle-Wump monkeys, who are very unfairly treated by the nasty Mr and Mrs Twit. Dahl invents the most gruesome possible treatment for them. But that gets the reader interested, and makes them long for the biter to be bit.”
The most popular of all children’s stories in the theatre, Cinderella, likewise invokes emotional engagement through the infliction of injustice.
“I do think that children are born with an innate sense of fairness, and Dahl uses that all the time,” says Wood.
If there’s a tricky aspect to adapting Dahl, it’s finding theatrical means to represent his delicious grisliness. For The Twits, Wood hijacked a throwaway line in the novel: “In the old days (Mr and Mrs Twit) had both worked in a circus.” That licensed him to set his staging in a circus ring and recast the Twits’ vicious feuding as slapstick entertainment.
Dahl’s frisson of cruelty is thus retained — and theatricalised. “It’s my job to rivet children to their seats,” says Wood, “by making what they’re watching so enjoyable that they forget about everything else.” Even bodily functions — in his book Theatre for Children, Wood writes that “my entire life has been . . . stopping children going to the lavatory.” He still believes passionately that theatre can enthral even a new generation of tots. “They’re still willing to enter into the spirit,” he says, “much more so than adults.
“There’s all this rubbish talked about kids’ attention spans. But they can sit for two hours perfectly happily in front of a computer game. So why do some people say we can’t expect them to sit in a theatre for an hour and a half? Well, we can,” he says, resolutely. “We absolutely can.”
On June 25th 2006, the culmination of seven months work (!), the CHILDREN'S PARTY AT THE PALACE took place to celebrate the Queen's 80th birthday.
Thousands of children had a wonderful day in the gardens at Buckingham Palace, which became a theme park wonderland full of children's book characters and locations.
My play, THE QUEEN'S HANDBAG, was performed on an enormous stage with many star performers.
At the end, the Queen generously entered into the spirit of the play by producing her glasses from her returned (by Tracy Beaker) handbag, and lifting them up in triumph. The audience (2000 children and 1000 adults) cheered heartily.
The play was commissioned by the BBC, who transmitted it live on BBC1. The ratings revealed that the programme was watched by eight million people, the largest audience, I have been told, for a children's television programme, in the entire history of television!
Earlier in the afternoon I was delighted to compere the readings in the Authors' Tent. Seven of the top children's writers - Jacqueline Wilson, Michael Morpurgo, Michael Bond, Roger McGough, Malorie Blackman, Philip Pullman and J.K. Rowling all strutted their stuff, and lots of other splendid children's writers and illustrators came too.
For some reason, I was presented to the Queen twice. She seemed to do a double take when she met me the second time ... First I was part of a line-up of children's writers. Second, I was introduced after the performance of the play.
The task of devising the play proved to be quite a roller-coaster! But I certainly wouldn't have missed it for the world. It was a totally unique event, at which many iconic children's book characters were brought together into one storyline for the first and only time. I was particularly delighted that Sophie Dahl (who was 13 years old when I first adapted her grandfather's book THE BFG) made the trip from New York to play herself in a scene with the BFG (played by Anthony Pedley, who created the role on stage for me back in 1991, and who has played it ever since!).
What really pleased me about the whole day at the Palace was that the press reports next day displayed not one single shred of cynicism about the aims or the execution of the celebration. Quite an achievement!
Hopefully the new charitable trust set up by the Palace to promote children's reading and literacy will be a huge success, riding on the back of the enormous coverage given to the Children's Party at the Palace.
For six months, up to the beginning of September, FIMBLES LIVE! successfully toured the UK. My adaptation of the television series drew large audiences, and seemed to go down very well with the extremely young audience!
My thanks to Edward Snape (Fiery Angel Ltd.) for inviting me to work on this production. Thanks also to Lucinda Whiteley and Mike Watts for their cooperation (they created the Fimbles) and to Richard Lewis for directing a very faithful representation of the television programme.
Huge admiration, too, for the splendid cast of "skin artistes", puppeteers, and the vastly talented Sarah-Jane Honeywell, who was the only human link to the audience!
The sheer love and warmth that radiated from the audience towards the stage, particularly when the Fimbles made their first entrance, was extremely moving to behold!
It seems to me that the theatrical experience for very young children can indeed be
Simple charm and unfussy delight are keynotes of this small show with an enormous heart.
The splendid 
It is remarkable that JAMES AND THE GIANT PEACH was the very first children’s book Dahl wrote. Not only is it totally successful, it feels totally original, and in many ways it is. Yet Dahl is never afraid to create sparkling new wine in old bottles. 
First to open is the 
The Duke's Theatre, Lancaster open their production of my adaptation of Roald Dahl's THE TWITS on November 23rd. It runs until January 5th. Some years ago the Duke's presented a very enjoyable production of THE BFG, featuring Anthony Pedley, who has played the part for me in three tours and West End seasons! Hopefully he will be returning to the role soon.
Brentwood Theatre
The Birmingham Stage Company tour of DANNY THE CHAMPION OF THE WORLD, my adaptation of Roald Dahl's book, has been touring for over a year. The second cast has now settled, and the production comes to London, to the 
It was a delightful surprise to hear that my adaptation of DANNY THE CHAMPION OF THE WORLD by Roald Dahl has won the AATE Distinguished Playwriting Award (adaptation). This is an annual award, presented by the American Alliance for Theatre and Education, and will be presented at an awards ceremony at the AATE Conference in Vancouver in early August. Unfortunately I cannot go to collect the award, but am very happy that Janet Grant, who co-wrote my THEATRE FOR CHILDREN book, lives in Vancouver and will receive the award on my behalf.
Last year I saw an excellent version of 'Babe The Sheep Pig' at the Open Air Theatre. This year, the children's play is a Roald Dahl offering which sets an assortment of digging and burrowing animals - badgers, weasels, rabbits, moles and foxes - against some rather unsavoury humans.
By Lisa Martland
Everyone knows foxes are clever; bold, wily London foxes who have figured out how to open up wheelie bins and hang about the back doors of restaurants to get the best leftovers, and the country foxes who live by their wits and get into chicken coops. At the Open Air this summer, there is a play about a particularly clever one. Jo Fletcher-Cross went to find out why this one is Fantastic Mr Fox…
And then there's a peach that grows large enough for a boy and his insect friends to sail it across the Atlantic in James and the Giant Peach, now in an exuberant production at Dallas Children's Theater through April 22. 
With an able cast and a striking set, SCR offers a tantalizing twist on an old classic.
David performed his own storytelling version of his successful stage play 'The Gingerbread Man' and with just a few simple props, some music cues and his energetic personality, he brought the story to life. Of course there was magic, including a version of instant magic painting, a clever block off rope type escape, with wooden cut outs of the main characters attached to the blocks to illustrate the Gingerbread man's escape, and a magic baking routine, with lots of comedy byplay, to produce around 100 gingerbread men as his finale! David kept over 225 (4 - 9 year old) children spellbound for nearly an hour before leading storytelling workshops for individual year groups. Magic was also in evidence here with his own 'Funny Bunny's Magic Show' book and a clever version of 'Hot Rod'. 
It seems impossible that 30 years have passed since I wrote THE GINGERBREAD MAN for the Christmas show at the Towngate Theatre, Basildon. 
In September 2006, the touring production of my adaptation of DANNY THE CHAMPION OF THE WORLD, by Roald Dahl, opened at the New Theatre Cardiff, and I am delighted to say it is proving very popular. 
The play will be on tour for two years, believe it or not! This includes a long Christmas season 2006/7 at the Old Rep, Birmingham. Neal Foster and his Birmingham Stage Company have toured several of my children's plays. 
Danny the Champion of the World Phil Clark’s production must be the most enjoyable children’s play currently on tour. 
Thousands of children had a wonderful day in the gardens at Buckingham Palace, which became a theme park wonderland full of children's book characters and locations. 
Earlier in the afternoon I was delighted to compere the readings in the Authors' Tent. Seven of the top children's writers - Jacqueline Wilson, Michael Morpurgo, Michael Bond, Roger McGough, Malorie Blackman, Philip Pullman and J.K. Rowling all strutted their stuff, and lots of other splendid children's writers and illustrators came too. 
For six months, up to the beginning of September, FIMBLES LIVE! successfully toured the UK. My 
adaptation of the television series drew large audiences, and seemed to go down very well with the extremely young audience! 
Huge admiration, too, for the splendid cast of "skin artistes", puppeteers, and the vastly talented Sarah-Jane Honeywell, who was the only human link to the audience!