Reviewer: Megan Hyland
Upstaged Rating: ⭐⭐⭐⭐
For anybody familiar with the 1971 film, Michael Harrison’s Bedknobs & Broomsticks is filled to the brim with joyful nostalgia and beloved tunes that are bound to bring back childhood memories. Though far from being a carbon copy of the fantastic film, the production features sensational new songs from Neil Bartram as well as innovative, captivating special effects that truly bring the magic to life.
Filled to the brim with joyful nostalgia and beloved tunes.
Celebrated musical theatre performer Dianne Pilkington stars as the magical and mysterious Miss Eglantine Price, and is charm personified. Her voice is enchanting, and she brings both grace and complexity to the iconic character. And while it may take the audience a while to warm up to Miss Price herself, Pilkington enchants us from the moment that she appears onstage.
Alongside Pilkington, Charles Brunton stars as the eccentric Mr Emelius Browne, to whom he brings an effortless goofish charm and contagious energy. He is the perfect Mr Browne, with a forties croon to his voice and instant likeability. Together with Pilkington and the children, Brunton is the perfect addition to an imperfect, altogether unlikely family.
However, the true stars of the production are of course the Rawlins children themselves. As Charlie Rawlins, Conor O’Hara is fantastic – dynamic, with quick comedic timing and an outstanding voice that lends itself expertly to old songs and new. He is the glue that brings the Rawlins family together, though at times feels somewhat out of place. It seems an odd casting choice to have Paul and Carrie be played by children of a similar age to their characters, yet to have 13-year-old Charlie played by an adult. This breaks the illusion of childhood innocence, as Charlie and Miss Price place such emphasis on his lack of belief as he stands on the outskirts of boyhood – which is in itself difficult to believe at times. That being said, O’Hara still manages to bring a mischievous, childlike energy, and the way in which he plays off the younger children is fantastic.
As Carrie and Paul Rawlins, Isabella Bucknett and Aidan Oli are delightful. Despite their size, they carry fantastically big musical theatre voices, and are bursting with talent that promises vast careers on the stage ahead of them. That talent, however, is unfortunately not used enough in this production. For as fantastic as O’Hara and Pilkington are, they are afforded a rather large portion of the musical numbers while Bucknett and Oli take an undeserving backseat. Yet when they are given their moment to shine, they grab it with both hands.
Perhaps their best moment is in Neil Bartram’s original song, ‘Miss Price, I Believe’, which gives them the opportunity to show off their impressive vocal range and undoubtable talent. As memorable as the Sherman Brothers’ classics are, Bartram’s original songs are unforgettable in their own right, and are bound to be fast favourites for musical theatre fans.
The real magic of this production has to be credited to the tech team…that will leave you reeling as you try to work out just how they did it.
However, the real magic of this production has to be credited to the tech team, who have brought to life Jamie Harrison’s extraordinary illusion design in some truly captivating sequences that will leave you reeling as you try to work out just how they did it. What we know for sure is that they have created an innovative combination of traditional magic tricks and 21st-century stage techniques that borders on true magic. The way in which set and illusion designer Jamie Harrison combines this with stunning sets to portray these enchanting spaces in an evocative and original way.
The production is full of gasp-worthy spells, beautifully crafted illusions, and baffling reveals; yet my personal favourite moment is the very first instance of magic that we see on stage. Watching Miss Price struggle with a rather disagreeable broom – although simplistic compared to the mind-blowing effects that follow – captured my attention immediately with its charming ingenuity. And the fact that the production uses effects on the bed similar to those in the film is a beautifully nostalgic touch.
Puppet captain Jonathan Cobb has also done a brilliant job of coordinating the movement of characters such as King Leonidas the lion and Angela the bird; bringing together pairs of perfectly synchronised cast members that move as one to bring these characters to life. Sherman the bear, however, was a bit of a disappointment, as the stiffness of the puppet’s head did not afford as much movement, leaving his voice feeling slightly disembodied. Fortunately, the fluidity of movement afforded to Angela the bird more than made up for it.
Enchanting, silly, innovative, emotional, and beautifully heartfelt.
What truly sold the overall production was Brian Hill’s melancholy ending, which tugs at your heartstrings and brings home the message that families can be both found and made. Filled with raw emotion, this ending is guaranteed not to leave a dry eye in the house; and given the unfortunate gritty reality that children in present-day Ukraine are facing, it really hits home to watch the Rawlins children grapple with the heaviness of war.
A truly magical masterpiece…fun for all ages.
Overall, Bedknobs & Broomsticks is – as it has always been – a story for the whole family. It is enchanting, silly, innovative, emotional, and beautifully heartfelt. Directors Candice Edmunds and Jamie Harrison have created a truly magical masterpiece that is fun for all ages.
-Megan Hyland
Catch Bedknobs & Broomsticks at The Lowry until Saturday 19 March.