Graduating director Merryn Carver has made her mark with a signature piece of children’s theatre. Tale of Horror is an adaptation for stage of Tove Jansen’s exquisite and beloved Tales From Mooninvalley.
Belknap as the Second-to-Youngest Whomper
Tale of Horror features the professional puppet manipulation expertise of Gabriel Marchand and Beren Belknap (old hands at tweaking life into inanimate objects for companies of the likes of Handspring) as well as the fresh talent of the very charming Joanna Evans. Following the journey of the overlooked and (to him) under-appreciated second-to-youngest Whomper child in his seriously magical adventures at the bottom of the garden, the piece weaves an intricate web of make believe. Carver maintains the story’s delicate balance between gleeful romp and sophisticated narrative, leaving the audience – no matter what their age – transported to a world where we see both the hidden dangers and magic in the everyday.
A particular delight in this witty piece was the sheer visual inventiveness. Belknap and Carver have lovingly reimagined the Whomper world – the multi-functional set and range of puppet styles are a creative triumph. In magnificent cameos, a pair of mismatched Australian Vietnam war veteran sock puppets play alongside some seriously slithery stocking mud snakes. Of particular delight is the mini-human puppet of the Youngest Whomper Child, played to giggling audience approval by a crouching Marchard complete with an ingeniously detachable headless bodypuppet.
In a play with both human and puppet interaction, then, Belknap, Marchand and Evans are called on at various points to be both manipulators and actors. They rise to the occasion admirably and Carver shows excellent direction in focussing the action to either highlight or background their presence depending on the demands of the role.
Tale of Horror is well-crafted with wonderful characterisation and, despite the male narrative lead, a strong feminist message. With this piece, Carver is joining the capable ranks of theatre makers whose work proves that theatre for children does not mean intellectual pandering and that visual play and laughter are gifts that should be enjoyed by all ages. I certainly hope that Tale of Horror finds a life outside of the university environment – it is the kind of quality family theatre that we need to encourage.
Spreading the Wings: Cape Town Drama Reviews 