Review: THE SECRET GARDEN, Regent’s Park Open Air Theatre
Photo credit: Alex Brenner
A new adaptation of Frances Hodgson Burnett’s The Secret Garden now graces the Regent’s Park Open Air Theatre stage, advancing their commitment to developing and commissioning unique large-scale theatre. Whilst large-scale feels a bit of a stretch in this case, we have so many other words to outline this production; comedic, sweet, wholesome, theatrical, rhythmical, whimsical, all amongst them.
This show is truly the product of a perfect collaboration and a perfect match of a play. The adaptation comes from the incredible Holly Robinson, very much bringing in the themes of motherhood and self-destruction from her 2019 debut play, soft animals, and has been cleverly directed by Anna Himali Howard following her own established style of incorporating concepts such as music and community, whilst in pursuit of creating fun and challenging creative spaces. It is so refreshing and pleasing to watch this creative team demonstrate the extra steps you can take in storytelling and performance when you have clear intent and vision to believe that a story of such history and appreciation is and has always been yours.
Everything about the Open Air Theatre production pushes the importance of nature to the forefront and, more specifically, igniting a love for the natural world in younger generations that holds such impact and nostalgia in talks of the original text, but this production takes things one deeply commendable step further. We float around that light air of imagination, manifestation and belief in magic but now with the extra experience of being able to once again return our feet to the ground on a foundation of truth and reality, both with equal content and pleasure. Unlocking an entirely new level of appreciation and learning opportunity in a story that explores ideas of legacy, storytelling and changes big and small and discuss the natural way of things in wider unexpected ways, the way to be, look, move, act, speak, grow, perceive, emote.
The pinnacle perceptions of this beautifully constructed world are the epitome of simple but effective. In truth, the production skips and glides across a spectrum of impact, practical effects epically effective in places and lacking in others, but in the soft spot is their wonderful use of the unique space, the lighting so effective and captivating that we don’t even notice the sun setting around us, the music which holds in it the feeling of joy, the genius conjuring of life from nothing but the clothes off of backs, understood without question by the entire audience, connected, transported together in a way that almost is magic, the intimate feeling of sharing a dream.
At first glance, what you see is a small set of very little space, giving more of an impression of doom and gloom, more of a memorial of something tragic. In that way, there is a feeling of things going backwards and a need to return to the natural way of things. It is the people and the words they speak that start to fill it with life, or wick as they say, and by the end of the production, the same stage is filled with a beautiful sense of celebration and youth. It is a transformation that is a joy to watch, innocence growing rather than the fade that is too often cruelly exposed to us. An excited, playful energy achieved with brightness, colour and truly innovative use of symbolism in a stronger sense of Indian culture, tackling of colonisation, culture and perceived queerness with wonderful subtlety and ease, casting comprehensively and creatively open but also showing respect and responsibility in their choices, culminating in a song that has been building for the entire duration of the show.
This impactful approach to storytelling is made possible by a cast of undeniable talent, not a weak link in sight. Hannah Khalique-Brown commands the stage as the production’s lead, Mary Lennox, with brilliant projection and expertly played innocent passion. Theo Angel as Colin manages to make an obliviously entitled, antisocial boy lovable in a performance of unbelievable confidence. Jack Humphrey’s performance as Archibald Craven is an exemplary demonstration of the difference consideration of physicality makes. Molly Hewitt-Richards as Martha is a masterclass in comedic delivery, in every smile, every blushing cheek, her command of pace and her chemistry with her scene partners. Richard Clews as Ben Weatherstaff has the crowd in stitches with a mere mumble for developing his character to such a real, human state. Sharan Phull as Lata and the Robin is a clear highlight of this production, with expert musicality, and a smile and vocal that bring a shining warmth to the stage. Archana Ramaswamy brings an aura of power and safety to the production as Padma. Representing the disabled community in a more than worthy performance, Brydie Service brings to the stage a Dickon that leaves no mystery to the narrative belief that he is magic, as her expert characterisation captivates completely and allows her to drive the story as our touchstone of wild freedom. Finally, complex, layered performances from George Fletcher and Amanda Hadingue drive home the overall purpose of the show and provide us with a dramatic climax and ultimate cathartic closure.
Much of the cast are in character for the duration, sharing the story in all meanings of the word. The visual of onlookers together with the sound of multiple voices, maintaining rhythm, lending words to construct the narrative give an impression of importance to the tale that begins to introduce its depth. The lone concept of a memory in hindsight give the story new meaning in ways that really give you cause to think. The inclusion of perspective, flashbacks, unison, repetition, reactions and interactions, silence that speaks a thousand words and words that cut sharply through silence. Poetic in its fluidity, a case study in the difference between speaking and spoken word, emotions dancing across the faces of the cast, words dancing about the stage.
The show does great things in proving what makes a production striking. How ‘striking’ does not necessarily mean a spectacle and you can simply be struck by a feeling or by the sheer amount of feelings that a cast is able to give you in a single moment and the warmth and melting that happens in you when that lingers. That is the best way to encompass this production. By the smiles on the faces of the cast as they took their bows, by the people wiping tears from their eyes as they rose from their seats, by the way each and every laugh came in a chorus.
**** Four stars
Reviewed by: Louisa Clarke
The Secret Garden plays at Regent’s Park Open Air Theatre until 20 July, with further information here.
