If you thought Rapunzel was the story of a girl sitting in a tower waiting for a handsome prince to rescue her – think again. Chickenshed’s ambitious and heartwarming version of the well-known fairy tale is notable not only for its conspicuous lack of princes, but also for a heroine who more than knows how to take care of herself and the people she cares about. Nor is the story all about Rapunzel; we spend just as much time discovering the magical world in which she lives, and following her parents as they search ceaselessly and with unwavering – and ultimately rewarded – hope for their stolen child.
The story, written and directed by Lou Stein, begins in the attic of a house on the outskirts of London, where six children and their childminder Hazel fall asleep while reading stories. They’re spirited away into Hazel’s dream, in which she’s Rapunzel and has been locked in a tower by Gothel the Witch. These leaves her young charges alone in the woods, where they encounter many magical creatures, among them dryads, underground gnomes and hinky punks. Meanwhile, the Kind Kingdom ruled by Rapunzel’s parents is populated by artisans, royal servants, urchins and more.
When all these groups come together on stage in one of Dave Carey’s rousing ensemble musical numbers, it’s a pretty awesome sight. The total cast for the production numbers 800 (with four rotating teams taking their turn at different performances) and brilliantly showcases Chickenshed’s mission to create inclusive theatre. This show has a role for everyone, and though this means the story at times gets a bit confusing, the overwhelming enthusiasm from all involved is far more joyous to watch than a simpler plot or a smaller, more polished cast would be.
Which is not to say there isn’t a considerable amount of talent on display. Cerys Lambert is a feisty Rapunzel with a beautiful singing voice; Philip Rothery nails the physical comedy in his role as Henry the clumsy woodsman; and Gemilla Shamruk steals the show at the end of Act 1 with Gothel’s dramatic solo number, Don’t Mess With Me. The show also features signing throughout, incorporated seamlessly into the performance of Loren Jacobs and Belinda McGuirk as dryads, and a fantastic band tucked away at the back of the stage.
Nor is it accurate to say this production isn’t polished – managing a fairly complicated plot whilst getting that many children on and off stage with a minimum of fuss is no easy task, yet somehow everyone always ends up in the right place at the right time. This is in no small part thanks to Lucy Sierra’s brilliantly inventive set, which is riddled with secret trap doors, balconies and hidden tunnels, allowing multiple ways in and out so that the action can always keep flowing.
The show is advertised as “Rapunzel as you’ve never seen her before!” and this production certainly delivers on that promise. Along with a magically entertaining story, enjoyable solo performances and toe-tapping tunes, this version sends us away with three particularly powerful messages: look out for each other, don’t fight, and never give up hope. Most importantly, it’s all performed by a passionate, diverse cast whose joy is infectious and truly uplifting. This was my first visit to Chickenshed – and I hope it won’t be the last.
Can’t see the map on iPhone? Try turning your phone to landscape and that should sort it. I don’t know why but I’m working on it… 😉
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