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Latest News and Forthcoming Productions
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AVAILABLE AGAIN!
Now, I'm delighted to say, they are back in stock and can be obtained via this website or through Amazon. 
Guess How Much I Love You Photographs 
The book, beautifully illustrated by Anita Jeram, has been a huge success for Walker Books, and now, thanks to Sally Humphreys Productions, we have translated the story from page to stage. 
Following the successful opening at the Rose Theatre, Kingston, the play is on tour until October 2010. Aimed at small children, the play runs 55 minutes with no interval.
David Wood has been writing and adapting children's books for the stage for over 40 years, so what is it about him that has enabled such a long and successful career in the theatre? I caught up with David Wood OBE during rehearsals of his adaptation of Sam McBratney's book Guess How Much I Love You to find out.
Friendly, playful and bespectacled, it is easy to see why Wood makes an engaging storyteller. The sheer volume of work he has generated is incredible, having created over 60 children's plays (including The Meg And Mog show, The Gingerbread Man and Tom's Midnight Garden), directed many of them in production, while touring The David Wood Magic And Music Show, a travelling children's entertainment show, for over 20 years. So why has his imaginative talent stayed predominantly within the world of children's theatre? "Adults are the most boring audience in the world because they'll just sit there and clap at the end even if they've hated it". Children's stories may be simple, but telling them in the right way is deceptively challenging. As Wood explains, "A lot of people think 'oh, it's just for kids, it's easy', much less difficult than Shakespeare or musicals or something like that, but it's actually very very difficult". An audience of children has fewer allegiances than an audience of adults, and will use any excuse to escape if they're not enjoying themselves. "I've said often, and I mean it, that the last forty years of my life had been dedicated to stopping children going to the lavatory. That is really true because they have no fear to manners when they're very small, and there's no reason why they should." When I meet him backstage at the Rose Theatre, Kingston, Wood is in the thick of directing a rehearsal for Guess How Much I Love You. His rehearsal style is as ebullient as he is, and he can't help joining in with the cleverly integrated song and dance elements of the show. The set abounds in colour, as the three performers abound in energy, and the costumes for Little Nut Brown Hare and Big Nut Brown Hare are likely to endear any adults in the audience, let alone the age 3+ children it's aimed at. Multi-coloured puppets and props represent animals, rivers and rainbows, and are in turn humorous, educational and eccentric. Given the perceived changes in children's attitude towards entertainment, it's impressive that Wood is still able to captivate those with such purportedly short attention spans for almost an hour. Some changes within their reaction are noticeable. "Some of the plays I wrote years ago I would have said then would have been suitable for say 7, 8, 9 [year olds]. Now, the same plays would probably be suitable for 5, 6, 7 [year olds], simply because children's life experience has been greater". Despite this, a child is still a child at heart: "If you bring children into the theatre for the first time, no matter how many video games, computer games, graphic imagery and everything they get used to so quickly, in spite of all of that, you put a shadow puppet up on a screen and they'll gasp." The process of adapting seems, superficially at least, to involve a different kind of working procedure. Wood was commissioned for several years to write an original play each Christmas by a theatre in Worcester: "There's part of me that would like to think that they were my best work, because they were original ideas, and were written as plays." However, the creative injection needed for both disciplines is sizeable. In Guess How Much I Love You, Wood has combined four short books into one piece, and created an entirely new narrator and facilitator in the character of Lucy. For largely practical purposes, adaptation has become his central realm, as "the necessity for well-known titles is almost frighteningly compulsory". Wood has an affinity for Roald Dahl, and has been extremely successful in his adaptations of his books. Their appeal even extends to adult audiences. "You'll very often get adults coming on their own – that amazes me – partly because the books are that old now, but also simply because Roald Dahl has a sort of cross-over appeal. He died when I was adapting the first [of his books I did] – hopefully not because I was adapting it! I never got his reaction". Putting a living author's work on to the stage is a cautious business, and a certain amount of tolerance has to occur on both sides of the bargain. "When you translate something into a different medium, you have to accept and they have to accept that a play is a different animal from a book". Adapting some stories, though, has been easier than others, particularly those with a "strong through line" and the placing of the interval and cliff-hangers is also crucial. Wood doesn't mince his words about the techniques involved: "You can't spend time with sub-plots, or go down cul-de-sacs that you have to turn round and come back out again. I'm not saying that many children's books do that, because I love children's books. They don't spend ten pages telling you the sun came out; they've go to get on with it. It's the same with a play – you can't dawdle". Wood's plays thrive on audience participation and Guess How Much I Love You is particularly interactive. Although children are willing to participate in a much more genuine way than adults, he doesn't believe they think it's real. "They know there are people up there telling them a story. Just in the same way when people go and see a Chekhov play and they come out saying 'ooh, I was in Russia!', they weren't in Russia at all…You know where you are, but there is something about what they're doing that is particularly special which does draw you in". Guess How Much I Love You incorporates a colour guessing game, in which the children are encouraged to shout out objects they can identify of particular colours. In rehearsal, this is very structured but, like many other elements which rely heavily on reaction, Wood finds in performance that "you're on a knife edge, because the audience can take over". The ability to conquer this unknown element is what enables the popularity of Wood's drama to endure. Guess How Much I Love You runs at the Rose Theatre in Kingston from 19-23 May before touring nationally. Helena Rampley TheatreFix Guest Editor |
News Item GHTR08 - March 2010
GEORGE HITS THE ROAD
My seventh Roald Dahl adaptation GEORGE'S MARVELLOUS MEDICINE has had a record-breaking Christmas season at the Old Rep, Birmingham.
The Birmingham Stage Company production extended the run to 14 weeks, which, apparently, is the longest Christmas season in the country. Directed by Phil Clark and designed by Jacqueline Trousdale, the production now embarks on a very long tour, reaching all parts of the UK, before arriving at the Bloomsbury Theatre, London for a 2010/11 Christmas season.
The production received a 5 star review by the Birmingham Mail. Also, The Stage gave it a great review. For tour details and a trailer, please visit the Birmingham Stage Company website. The Sunderland Echo has also reviewed this production.
George's Marvellous Medicine Fizztickling, whizzpopping adaptation of one of Roald Dahl's funniest stories George’s Marvellous Medicine, now showing at the Playhouse, is yet another triumph for David Wood. Wood has adapted many of Roald Dahl’s books, all with great success – but I was not sure that this latest offering would be as good as the previous ones because out of all of Dahl’s stories for children, George’s Marvellous Medicine is probably the flimsiest. Judith Davies, 11/08/10 |
![Review]](images/george_review.jpg)
Hull & East Riding Newspaper REVIEW: 'Enthralling' triumph for George's Marvellous Medicine at Hull New Theatre Unless you are a grumpy grandma, you'll love this week's Hull New Theatre show. Birmingham Theatre Company's version of the Roald Dahl tale George's Marvellous Medicine, is an excellent production that had us hooked from the minute we took our seats to the sound of farmyard noises. Our hero, schoolboy George, is spending his half-term holiday reading his favourite book about a boy wizard (yes, they did exist before Harry Potter) when life on the family farm is rudely interrupted by the arrival of grumpy grandma. George's mum (Alison Fitzjohn, with an amazingly infectious laugh) just gets on with her chores and his dad (Thomas Woodman) has a grumble but disappears off to do his work, leaving George (Clark Devlin) to cope with the demands of his monstrous gran (Erika Poole), who needs regular doses of medication. Left in charge of gran, cleaning the house and mucking out the chickens, George instead sets about creating a very nasty brew to give to grandma. Drawing in the audience, he asks whether he should include every nasty ingredient, which ranges from lavatory cleaner to lipstick, to things he finds in the kitchen cupboard and his dad's garden shed (including paint). Of course, every time the answer, yelled by hundreds of excited children, is a very loud 'Yes!'. Grandma doesn't become less grumpy but she does grow very tall – to about 12ft – and her head is through the rafters when mum and dad return home. Dad is more excited by the sight of an enormous chicken George has also managed to create. When he asks his son to make some more medicine so he can have a farm full of enormous, very valuable animals, that's when the fun really starts. Never have I seen so many children so enthralled; never has the "Don't Try This at Home" warning – issued at the end of this wonderful show – been more necessary. Review: Sue Mason |
REVIEWS THE TIMES There's an emphatic warning, both in the programme and at the end of the Birmingham Stage Company's performance, against attempting to re-create young George's magical potion at home. Let's hope that enthusiastic audiences aged 4 and over absorb those words of caution - otherwise there could be some very poorly grannies, not just in the Midlands but up and down the country when Phil Clark's production embarks on its lengthy tour. Adapted by David Wood, the acclaimed children's dramatist, from Roald Dahl's 1981 book, this is the story of a boy who decides to enliven his grumpy grandmother's visit by doctoring her medicine in the most stomach-turning fashion. As she sits squawking irascibly in her armchair, while George's hard-pressed parents are busy running the family farm, he mixes a brew that even by Dahl's exuberant standards of grotesquerie is utterly revolting. Shampoo, shoe polish, flea powder, engine oil - in it all goes, while Clark Devlin's mischievous George speculates with relish as to what will happen when Grandma (Erika Poole) takes a sip. "Will she go pop? Will she explode? Will she go flying up the road?" he muses, giggling. The results of his scheme are even more outlandish: Grandma levitates, bursts into flame and grows into a giant, head and shoulders shooting through the farm roof. It's a pickle - but Dad quickly realises that if he can use George's concoction on his animals and transform the struggling farm's fortunes, it might just turn out to be liquid gold. Clark's staging, designed by Jacqueline Trousdale, with puppetry by Roman Stefanski, enters into the quirky, fantasy world of the story with aplomb and an enormous sense of glee. In the higgledy-piggledy farmhouse, Mum (Alison Fitzjohn) can be glimpsed milking a cow through the rear of the colourful kitchen; a chicken that sups the medicine swells to a monstrous size; and Grandma's miraculously stretching legs and torso are achieved with wonderfully witty simplicity. Devlin delivers Dahl's pungent, rhyme-laden language with infectious delight and there is a refreshingly non-PC, off-the-wall, subversive aspect to his revenge on Poole's witchy granny. Nasty, naughty fun. |
Here is another great review in the Cambridge News ...
REVIEWS - Cambridge News George's Marvellous MedicineGeorge’s Marvellous Medicine, Cambridge Arts Theatre, until Saturday. Jennifer Shelton is drawn into the magical world of Roald Dahl - along with a particularly excitable audience.
George's Marvellous Medicine
Giant rampaging chickens, a good dose of lavatorial humour and a hilariously grumpy grandma - what’s not to love?
For those new to Roald Dahl’s tale, George’s Marvellous Medicine follows the outrageous exploits of a young boy whose attempts to cure his grandmother of her terrible temper leads to all sorts of hilarious happenings.
Brought to us by the Birmingham Stage Company, this theatrical adaptation does a fantastic job of bringing the action to life and drawing the eager audience into George’s magical, mischievous world.
There are several delightful moments when, inviting the audience to help him mix his magic potion, George is heckled by enthusiastic cries of: “You forgot the boot polish!”.
And later, the anticipation of waiting for Grandma to drink her first dose proves too much for one theatre-goer, who gasps loudly: “Go on, drink it!”, for all to hear.
While the children – and I think I can vouch for the adults too – are clearly enjoying the show, the actors too take to their roles with great relish, helping to create the atmosphere of unbridled silliness and fun which makes this evening so successful.
For a dose of fabulous family fun, George’s Marvellous Medicine is just what the doctor ordered!
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The tour of GEORGE'S MARVELLOUS MEDICINE continues to gather great reviews. Here is the latest - five stars from WHATSONSTAGE. Am delighted for Jason O'Brien, the understudy, whose performance as George is praised. Jason was one of the students who very successfully augmented the professional and children's cast of my production of FANTASTIC MR FOX at Regents Park Open Air Theatre a couple of years ago. The tour continues through 2010 and plays a Christmas season at the Bloomsbury Theatre, London.
George's Marvellous Medicine (tour – Chelmsford) Children are much better at memorising passages from favourite books than adults. Take the long, long list of concoctions which go to make up George’s marvellous medicine in the Roald Dahl book of the same name, cleverly adapted for the stage by David Wood. When it comes to making up a fresh batch in the second act of Phil Clark’s production for the Birmingham Stage Company, the audience knows exactly which peculiar additive is missing. No wonder there’s a “don’t try this at home” warning at the end of the show and in the souvenir programme. |
News Item JRP27- April 2010
COME TO THE CONFERENCE!
For several years I have been voicing my concern that in the UK children's theatre has long been considered a subject unworthy of academic study. This contrasts with attitudes in other parts of the world, including the United States, where several universities offer courses in theatre for children and young people.
I have been invited to talk and conduct workshops in many more American educational establishments than British ones. Maybe the tide is turning!
News has just come through that Rose Bruford College are offering an MA course in theatre for young audiences, organised in association with Unicorn Theatre. The first students will be admitted in September, 2010.
Furthermore, Karian Schuitema is organising an exciting-looking conference at the University of Westminster in London, called THEATRE FOR A YOUNG AUDIENCE.
The conference is...
'an initiative to focus on critical and theoretical appreciations of children's theatre: it aims to elevate the study of children's theatre to the level of other theatre studies, as well as bring together both academics and practitioners with an interest for research into theatre for the young.'
Karian has kindly invited me to speak at the conference, as a practitioner, of course. And there are some high-powered academics speaking too. Philip Taylor is coming from New York University. Cecily O'Neill will be there. And the splendid Professor Wolfgang Schneider from Germany, the President of ASSITEJ. Full details can be found on here. Why not register and come along?!
News Item TPAPA20 - April 2010
THE PLOTTERS ARE PLOTTING AGAIN!
A recent item in LATEST NEWS describes an excellent school production of my play THE PLOTTERS OF CABBAGE PATCH CORNER.
Now there is news of a professional production of the play, to be presented by the enterprising Brentwood Theatre for Christmas 2010/11.
This production will be exactly 40 years after the first production at the Swan Theatre, Worcester.
The cast included the young and already splendid Alison Steadman. A year later, the play was seen for the first time in London, at the Shaw Theatre, presented by the generous producer Eddie Kulukundis (who, the same year, produced THE OWL AND THE PUSSYCAT WENT TO SEE ... in the West End for the first time). Ladybird was played by the wonderful Julia McKenzie.
The play won some very encouraging reviews, and returned to the same theatre for Christmas the following year. Because it is set in a garden, and the characters are mainly insects, the play is now often perceived as 'green'. I suppose it is, but I wasn't really, if I am honest, 'thinking green' at the time! I was just writing what I hoped would be an exciting story about insects in a garden!
The play is popular in Germany, where there are several professional productions each year. More details about the play in MY PLAYS.
News Item HCTJ14 - April 2010
HERE COMES THE JUDGE!
News Item MB08 - March 2010
MINNEAPOLIS BABE
Delighted to hear that the Children's Theatre Company in Minneapolis, one of the most highly respected children's theatre companies in America, have announced that my adaptation of Dick King-Smith's book, BABE, THE SHEEP-PIG, will be in their 2011/2012 season. The production opens on January 11th 2011 and runs to February 27th.
News Item JRP27- April 2010
JAMES TRIUMPHANT RETURN TO POLKA!
For Christmas 2009/10 Polka Theatre in Wimbledon revived Roman Stefanski's delightful production of my adaptation of Roald Dahl's JAMES AND THE GIANT PEACH. It formed part of Polka's 30th birthday celebrations. 30 years! I can't quite believe that!
Richard Gill, who created Polka, invited me to be a member of the Board of Trustees a couple of years before the theatre opened. I well remember the excitement of the opening ceremony, attended by local dignitaries, most of whom, it has to be said, had shown little interest in the creation of the theatre until told that the Queen Mother was cutting the tape!
Triumphant that Polka is still shining as a beacon for quality work for young audiences. Having left the Board of Trustees a few years ago, I am proud to be a Patron of the company, and am naturally very pleased that my adaptation will be part of the theatre's important anniversary.
Revival of JAMES was very well received, I'm glad to say. May Polka continue to shine like a highly-polished star in the children's theatre firmament (I felt like waxing lyrical ...).
| The Stage Review | Time Out Review | The Times Review |
News Item TBP11 - February 2010
THE BATH PLOTTERS!
Monkton Combe School in Bath put on an excellent production of THE PLOTTERS OF CABBAGE PATCH CORNER towards the end of last year, and I was really pleased to see it.
It was directed with great energy and skill by Chris Stafford, the headmaster, and the sets and costumes were of an extremely impressive standard.
It made my evening when, in the interval, somebody came up to me and congratulated me on writing such a topical play. I didn't have the heart to point out that in fact I wrote it 40 years ago! The ecological theme, it is true, feels 'green' now, although I was never thinking 'green' when I wrote it. I don't think anybody was back in 1970!
News Item APBC13 - February 2010
ANOTHER PLAY FOR BIG CAT
A few years ago I wrote a play in rhyme for an educational series in Australia. The title was JACK AND THE BAKED BEANSTALK, and it used ideas from my full-length play JACK AND THE GIANT.
Back in the UK, the publisher Collins acquired JACK AND THE BAKED BEANSTALK for their Big Cat series of books, which are mainly sold into schools, to help with reading and literacy.
Big Cat's editor, Sarah Loader, kindly asked me to contribute another play to the series, and I suggested CINDERELLA.
The text is actually based on an earlier version I wrote for the POP-UP THEATRE: CINDERELLA, published years ago by Kingfisher, and subsequently discontinued.
The return of this text is very pleasing, and when the book is published later this year, I hope it will be read and played out by many children in primary schools.
Collins produce a regular newsletter called Primary News. For the Spring Term 2010 edition I was asked to write an article about drama in the classroom.
Collins have kindly given me permission to have it on the website. Here it is - and if you are interested to learn more about Collins Big Cat series, click on to their website.
News Item JATW29- January 2010
JAMES AT THE WATERMILL
The Christmas, 2009/10 production at the delightful Watermill Theatre, Newbury, was my adaptation of Roald Dahl's JAMES AND THE GIANT PEACH, performed by clever actor/musicians and directed by Anna Linstrum. The production was very well received by audiences and press alike.
Visit the Watermill, Newbury website here ...
News Item TRAB29- January 2010
TWITS RULE AT BRENTWOOD
The Christmas 2009 production at Brentwood Theatre, in Essex, was my adaptation of Roald Dahl's THE TWITS. A lively young cast did a great job, and The Stage gave it an excellent review.
I much enjoyed my visit to Brentwood, even though just before Christmas, the area around the theatre was like an ice rink!
News Item SFTGB16- November 2009
THE GO-BETWEEN showcases.
Composer Richard Taylor and I were delighted with the reaction to the 5 showcase performances of our musical based on L P Hartley's wonderful novel, THE GO-BETWEEN, which took place in early November at the Trafalgar Studios in London's West End.
This is my first venture into writing for grown-ups for many, many years! I was delighted when Richard kindly invited me to work with him on it, because I have always loved the novel and the splendid Joseph Losey film version. Roger Haines, who directed (twice) memorable productions of my adaptation of TOM'S MIDNIGHT GARDEN at the Library Theatre, Manchester, directed a splendid cast for THE GO-BETWEEN. Huge thanks to all of them - Scarlett Strallen, Andrew C. Wadsworth, Nicola Sloane, Dermot McLaughlin, Hannah Spicer, Thomas Eyre, Christian Edwards, Alistair Natkiel, Stephen Carlile and the two young actors, Ethan Beer and Sam Veck. Roger did a great job, as did our brilliant musical director, Alan Williams, who is currently wielding the baton for SISTER ACT at the London Palladium. A big thankyou, too, to Andy and Wendy Barnes of Perfect Pitch, the excellent organisation that promotes and fosters new musicals, who organised the showcases.
Full details of the organisation are on the PERFECT PITCH website.
News Item TWF16 - November 2009
"THE WORD FESTIVAL" at POLKA THEATRE / J M BARRIE AWARD
On Saturday, October 10th, 2009, on behalf of Action for Children's Arts, I was delighted to present the annual J M Barrie Award ceremony, which took place as part of THE WORD FESTIVAL at Polka Theatre.
This year's recipient of the award, recognising a lifetime's achievement in the field of children's arts, was the one and only Roger McGough.
He was performing at the Festival, which proved to be the perfect place to honour him. The award was presented by nine year old Yusuf Steel, who recently won a prestigious poetry-writing prize.
For the full report,
see the ACA website...
News Item TADO7 - February2010
TALKING ABOUT DAHL IN OXFORD
News Item MOT7 - February2010
'THE MAGIC OF THEATRE'
News Item TADO7 - February2010
'MAGIC AND MUSIC' RETURNS!!!
News Item DPFC05- September 2009
DANNY: PLAYS FOR CHILDREN published!
The latest in the Roald Dahl: Plays for Children series was published by Puffin in September 2009.
This is my full-length adaptation of DANNY THE CHAMPION OF THE WORLD re-adapted into short plays for children to read or perform.
Already available in this format, from Puffin Books, are THE BFG, THE WITCHES and THE TWITS.
News Item KSL21- July 2009
KIDS WEEK LAUNCH ON JULY 14th, 2009
I was delighted to be involved with the launch of KIDS WEEK.
This is the Society of London Theatre promotion, whereby children can come free to many West End shows.
The launch involved three shows for small children, and took place at the Duchess Theatre.
I was asked to host the event, linking from the performance of WE'RE GOING ON A BEAR HUNT to an excerpt from THE GRUFFALO, and then to an excerpt from TIGER. It was a very happy occasion, and apparently sales on the first day broke all records! Hooray!
News Item BFGITV09- June 2009
WHAT IS YOU FAVOURITE CHILDREN'S STORY?
A rather sad consequence of the current financial crisis is that many local newspapers are cutting back on staff.
First to go (typical) are often the arts reporters. To help promote THE BFG tour, I was asked to answer some representative questions, which could be sent to the newspapers who had nobody suitable to interview me.
The questions are about the enduring magic and appeal of Dahl, the major challenges I faced in translating THE BFG to the stage, the key ingredients needed to keep children entertained and my favourite children's story (a question I rather chickened out of ...).
Please click here if you would like to read my answers.
News Item CRB02- June 2009
ENJOYING THE SUMMER WITH MOLE
Here is delightful evidence that MOLE'S SUMMER STORY, the book I created with Richard Fowler, can still engross its audience! Very reassuring ...
Mole is on holiday at the seaside. He is about to join his friends on a boat trip, when his hat blows away!
Mole can be slid through the slot in each picture: under deck chairs, through ice-cream stalls and even into a Punch and Judy show, to help Mole find his big spotty sun-hat.
This was the second book in the Mole series, following the very successful BEDTIME STORY.
News Item BFG19 - November 2009
THE BFG BACK ON THE ROAD
November 2009 saw the last week of Edward Snape's (for FieryAngel) tour of my adaptation of Dahl's THE BFG. Liverpool Playhouse were kind enough to comment that this production was the best production for children they had seen for many a long year.
My thanks to Edward, in association with the Theatre Royal, Northampton, for presenting this brand new production, directed by Phil Clark. Since April it has been delighting children and adults all over the UK. The production starred, yet again, the actor who has become widely regarded as THE definitive BFG, Anthony Pedley.
He created the role nearly 20 years ago, and has played it in all four UK tours and three West End showings, clocking up nearly 2,000 performances! Thanks to him, and to the bright young cast of actor/musicians, who delivered an exciting production that was widely praised.
Here are some reviews of the production.
The BFGPublished Wednesday 18 March 2009 at 11:30 by Caroline Morris This production of The BFG sees the words on the page electrifyingly brought to life on the stage, totally captivating the audience. The longer, darker, more sinister first act is perhaps a little drawn out but is a couple of steps back from frightening the youngest members of the audience with the giants masks. There is a wonderful display of bonding and trust between young Sophie, played by Becky John, and the BFG (John Pedley). Our ensemble of nasty giants played by the remainder of the cast, get on with gory giant business and menacing activities. The BFG is thoroughly entertaining with his jumbly words - how useful they could be in the big world outside. Without doubt, the second shorter act is much punchier, faster moving and more entertaining. Here we encounter a charismatic performance of the Queen from Heather Phoenix, complete with corgi, a comic strip Queen of Sweden from Naomi Lee Schulke and the epitome of military men from Darrell Brockis as head of the army and Adam Baxter as head of the air force. There is no better way to sum up this production than the words of one little boy leaving the theatre who said, “That was wicked.” |
From the Blackpool Gazette
Wondrous world of dahl comes alivePublished Date: 01 April 2009
By Robin Duke
The wit, wonder and wickedness of Roald Dahl came magically to life in this hugely imaginative stage version of the classic story of a gentle giant fighting to save children from his evil compatriots.
Funny…enchanting…scary… delightful…are just a few words that spring to mind to describe the Fiery Light company’s utterly enjoyable production of this children’s tale. The BFG was veteran actor Anthony Pedley, who has played the role more than 1,400 times in various versions – and it showed. He was totally at ease in the giant’s skin and with Dahl’s wondrous wordplay, transporting us seamlessly into his larger-than-life world. His opposite number, Becky John as Sophie, was also excellent with a real ‘little girl’ persona that kept us captivated, as well as cleverly manipulating the puppet version of herself to give gigantic scale. The use of puppets, and in Buckingham Place of a giant BFG working model, was just one indication of the imagination that has gone into this production. Fiercely frightening masks and eye-catching backdrops helped to create moods which were enhanced by a superb musical accompaniment from cast members, who used a variety of instruments to add menace one moment, enchantment the next and even plaintive emotion in the BFG’s touching farewell. The giants, of course, were splendid, managing to sound genuinely monstrous, as was Heather Phoenix who shone as a witty Queen of England with just the right imperious edge in her voice. A memorable production – just a shame the theatre wasn’t just that bit fuller. It runs until Saturday. Peter Ward |
From the Edinburgh Evening News
The BFG, King's TheatrePublished Date: 09 April 2009
By Annabel Cooper
The BFG ****
King's Theatre SCHOOL'S out (again) and the little ones are nagging that they are bored. For what better way to keep them happy (and alive) than letting Roald Dahl, the grand master of storytelling, loose on their imaginations for an afternoon.
Dahl's tale of tiddler-gobbling giants and Snozcumber-scented whiz-pops (you better learn fast what these are) has been brilliantly transformed for theatre goers. What is most impressive about this adaptation, playing at the King's until Friday, is that it does what eludes many stage and screen renditions, and truly captures the imagination of the reader. By placing Dahl's book within the play, his tongue-twisting tall tale remains central to the on-stage adaptation and ensures the author's magic is not lost. You could pray that they are gobbled up by flesh-eating giants with a penchant for "tasty little tiddlers". Or you could place them in the capable and somewhat more benign hands of the Big Friendly Giant. Narrator Sophie, against the backdrop of a magically murky stage, reads beautifully from the original BFG so that, settling back into their stalls, the audience almost feels like they themselves are sneakily reading the book under the covers by torchlight. The magic of a child's imagination is what epitomised Dahl's stories and this is dished out in giant-sized portions here. The audience is enveloped in a dreamy, all-sensory experience as the gloomy lighting and eerily undulating score trick and tickle them on to the pages of the classic tale. This is back-to-basics entertainment, where puppetry, atmosphere and tricks of perspective make a welcome diversion from the spoon-fed, often patronising nature of modern kid's entertainment – and one can't help thinking that Dahl himself would have deplored a production filled by special effects and computer- generated imagery. As with all of Dahl's stories, there are the important moral lessons to be learned, but they are not forced. The bullies get their comeuppance, the outcasts find their place in the world, but in the end it's all about the queen getting a face full of farts. Lyrical and physical silliness, naughty jokes and faux pas are lapped up by the audience – children and grown-ups alike. The BFG, aka RADA-trained Anthony Pedley, has played the title role nearly 1500 times, and somehow you couldn't imagine anyone else doing it. A gangly, greying gentle giant in his own right, Pedley has mastered the upside-down, front-to-back giant language impressively and the only thing he seems to be lacking is the over-sized, flapping ears of the original book creation. This magical play captures the essence of the story fantastically and everyone's favourite giant is sure to engage the imagination of even the most weary little one, perhaps making kids entertainment this Easter a little less of a gargantuan undertaking. |
News Item TTCTOR - May 2009
HERE ARE ANOTHER COUPLE OF NICE REVIEWS FOR
THE TIGER WHO CAME TO TEA
The Tiger Who Came to Tea, Darlington TheatreBy Julia Breen JUDITH Kerr, the author of the Meg and Mog books, published The Tiger Who Came to Tea 40 years ago – and it is still a much-loved book for young children. Adapting such a classic for the stage is a tall order, but David Wood remains true to the original while transforming what is actually a very flat plot – a tiger turning up unannounced for tea and devouring everything scrap of food in the house – into a lively stage show. Songs, dances and audience participation kept youngsters enthralled for the 55-minute production. An audience of toddlers and young schoolchildren are probably the harshest critics, but they lapped up the story and the excitement reached fever pitch when the huge furry tiger made his first appearance at teatime. The show is aimed at children three years and upwards, but my little girl, just under two, was captivated. Apparently Wood, who also directed, is a member of the Magic Circle, which explains the illusions in the show which allow the tiger miraculously to empty the plates, the fridge and the cupboards of any food.
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The Tiger Who Came To Tea, Theatre Royalby James Marley, Evening ChronicleOn April 16, 2009 SO how does this much-loved children’s book translate to the stage? In short, very well indeed. This is Judith Kerr’s magical and improbable tale of a Tiger who turns up at little Sophie’s home for tea and munches his way through almost everything in the house. Not only that but he drinks a pot of tea, all the water in the tap and even daddy’s beer. If that Tiger wasn’t so charming he would be due an Asbo. And it is not just Sophie and her mum who the Tiger wins over. As good as the actors are, it is the 7ft Tiger who inevitably steals the show. There is almost a sense of anticlimax when the Tiger takes his leave shortly before the end. That said this is a wonderful and engaging play sure to captivate your children. At under an hour there is no chance their attention will wander. David Wood’s adaptation of what is rightly known as a modern classic works beautifully. A picture story is fleshed out with song and dance. And it gives you the chance to revisit a wonderful book. The Tiger Who Came to Tea is at the Theatre Royal daytime until Saturday 18th April |
Check out where you can see The Tiger Who Came To Tea
News Item TGBMOD - April 2009
THE GINGERBREAD MAN - A PINCH OF SALT
Newly baked this morning, take a look at my tan, Hey, hey I'm the Gingerbread Man!
The characters in this delightful series live on the the shelves of a kitchen dresser. Late at night, while the "Big Ones" are sleeping. The Gingerbread Man and his friends come alive and create musical mischief!
So many people have asked where they can get The Gingerbread Man on DVD after wearing out their copies on video. Below are links to an online shop which now has the newly re-released Gingerbread Man series for sale.
News Item GBM01 - April 2009
VIA THE GUESTBOOK
Via the Guestbook, Elaine Cox recently ordered THE DAVID WOOD SONGBOOK cassette. Now she has sent a very kind message, which has very much brightened my day! Here it is:
"Dear Mr Wood
Further to the correspondence below, I have only just realised that you had replied directly to me, for which I am most grateful !
One reason for purchasing the cassette was to remind me of your Magic and Music Show last year at Chipping Norton, which I had the privilege of attending.
I had a musical and artistic upbringing and have become concerned over recent years at the trend towards large-scale 'cultural' events and the associated 'celebrity culture.'
Your show was one of the most refreshing events I have been to. I was first impressed by your support for such a lovely little theatre, and then by the sensitivity of your interaction with the children in the audience, never losing their attention for a moment but always approaching your task with a view to educating, enlightening and unlocking imagination.
The most memorable part (aside from the washing line trick, which is incredible !) was your successful encouragement of the very shy young girl eventually to enter into the idea of imagining the clown to appear in the book.
Your show affirmed by belief in integrity in my own limited dealings with children's education and arts. I now have a copy of your book 'Theatre for Children', which has provided a fascinating account of the background to your approach.
I know you hold a position of responsibility as chair of 'Action for Children's Arts' and I wish to encourage you in your endeavours, as such an influence is needed today more than ever before. Very best wishes for the future.
Elaine Cox
ps I can post this on your web site if you like!
News Item SSCFC01 - April 2009
SEVEN STORIES - A CAUSE FOR CELEBRATION
In December 2008 I was very pleased to perform at Seven Stories, the unique centre for the children's book, in Newcastle. Staff and audiences made me very welcome as I gave my GINGERBREAD MAN storytelling (based on my play, book and tv series), with magic, music and audience participation, as well as several BOOKS ARE FUN! sessions.
These events were 'public' versions of what I do when visiting schools and libraries, and gave me the opportunity to try to enthuse children towards enjoying books, as well as allowing me to indulge the performer that still lurks within me!
It was a particular pleasure to see Seven Stories for the first time, and see its splendid exhibition spaces, activity areas, performing attic and shop, not to mention its cafe with delicious homemade fare. It was even more exciting because, not long before my visit, I became part of the Seven Stories 'family'. Let me explain.
Nearly a decade ago, as Chair of Action for Children's Arts, the organisation dedicated to improve the profile and status of arts for children, I was privileged to introduce at our conference, Elizabeth Hammill and Mary Briggs, who announced their ambition to open a centre for the children's book. Because of their very obvious commitment, determination and confidence, I think everybody listening knew that this project would get off the ground! And it did, thanks to Elizabeth and Mary valiantly brushing aside all the obstacles thrown in their path.
It has been fascinating and rewarding following the progress and the eventual realisation of Elizabeth and Mary's dream. Everything about the enterprise is exciting and novel. It seems extraordinary that, until Seven Stories came along, very few children's writers and illustrators were offered homes for their archives. Adult writers often get offered large sums of money from universities at home and abroad in exchange for their manuscripts and papers. But those of us working for children have always been relegated to the second or maybe even the third division! Many of my colleagues were concerned that their life's work might have nowhere safe to live once they had passed on. And I felt the same.
So I was thrilled when Seven Stories asked if I would donate my archive. The first batch of box files left in September last year, and has already been catalogued. There is a lot more! Hopefully, in time, that will make its way to Newcastle too.
I'm sure that all the exciting archives gathered together at Seven Stories will prove invaluable to students and academics researching the development of writing for children. It happens to be something that the UK does rather well! It needs to be celebrated. And Seven Stories certainly does that, and should be treasured locally and nationally, and, indeed, internationally.
Find out more about Seven Stories at www.sevenstories.org.uk...
News Item PJ19 - February 2009
PHILADELPHIA JAMES
In January 2009 I went to Philadelphia and much enjoyed the Arden Theatre's production of JAMES AND THE GIANT PEACH. Directed with great skill and style by Whit MacLaughlin, the production featured stunning graphics, projected on to three screens, helping to transfer the action from scene to scene. JAMES AND THE GIANT PEACH became the third most successful show in the Arden's 20 year history. THE most successful was, I am delighted to say, my adaptation of Roald Dahl's THE BFG, two years ago.
To see some photos of the production, please check out the Arden's website ....
News Item TOTRFEB19 - February 2009
TIGER ON THE ROAD
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.
The production comes from the same company that has been touring THE GRUFFALO for several years.
'Photo by Bob Workman'
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!
Here is the first, thankfully favourable, review!
THE STAGE 10th September 2008
The Tiger Who Came to Tea
Published Wednesday 10 September 2008 at 13:10 by Lisa Martland
It is a tall order adapting a bestselling children’s picture book for the stage. Even before the characters begin to tell the story, the production has to visually fit the bill and youngsters are harsh critics.
Lucky then that this adaptation of Judith Kerr’s delightful tale - a tiger visits little Sophie and her mother and stays for a rather large spot of tea - is in the safe and experienced hands of writer/director David Wood. While most of the audience is familiar with the book, he still has the knack of surprising them with imaginative touches as well as always encouraging audience participation.
This is achieved often by the introduction of ditties with actions for both the children and adults to join in with. There are one too many of these for my taste, but that was not the opinion of the very young kids seated around, who loved every minute.
Abbey Norman is charming as young Sophie. As her parents, Devon Black and Alan Atkins also never lose enthusiasm for their story, the latter doubling as a very convincing and well-mannered tiger.
Indeed special credit goes to set and costume designer Susie Caulcutt for not only interpreting the book’s gentle mood so well, but also creating a quite gorgeous feline costume. The simple but clever use of trickery when the tiger is gobbling up food around Sophie’s house is inspired.
For many years I have regularly received the magic magazine ABRACADABRA. Chris Wardle, magician and school teacher, has kindly written a review of TIGER for the magazine. Here it is ......
‘The Tiger Who Came to Tea’ as seen by Chris Wardle
‘The Tiger Who Came to Tea’ by Judith Kerr is a classic children’s picture book. David Wood has lovingly adapted it for the stage to bring the fun and the excitement of the story to life. Scott Penrose created the magical effects for the production and the young audience at Cambridge’s Arts Theatre gasped and applauded as the table of food literally vanished as the tiger ate it – from plates of sandwiches and buns to a large cake on a pedestal – even a large jug of milkshake visibly vanished.
Other effects during the 55 minute production included the appearance of a bunch of feather flowers, cupboards and a fridge emptying and later refilling and a shopping basket visibly filling up as it was pushed around the stage.
This is a lovely production, with a superb tiger costume and an enthusiastic cast, who really know how to engage the audience. Abbey Norman plays Sophie, Devon Black Mummy and Alan Atkins Daddy and a variety of other roles.David Wood has written some lively and catchy songs to enthral all ages. The young family sitting next to me giggled and laughed throughout, but it was a shame that the mother turned to her two four year old twins and said ‘The father is dressed up as the tiger’. (As indeed he was!). Who needs the Masked Magician when children as young as four are having the magic removed from their eyes so early?
However, at the end it was another actor, presumably a stage hand, who came on in the tiger costume to take a bow with the rest of the cast. The four year olds looked at their mother and said ‘You see Mummy, the tiger was real after all!’ Magic restored!
With both my Deputy Head Teacher’s hat on and my Magician’s hat on I can firmly recommend this as a fun piece of theatre and a chance to see David Wood work his very special brand of theatrical magic yet again! Do go and see it if it comes to a theatre near you!
To see a trailer of the show,
why not visit the Tiger's very own website!
Click here...
News Item PFFCO1D - December 2008
A PRESENT FOR FATHER CHRISTMAS REVIEWS
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 has just been published in the UK and in lots of other places - I think there are ten foreign language versions, including the United States edition called A PRESENT FOR SANTA CLAUS.
I have started reading the story in schools and bookshops, and so far the response has been very encouraging! Fingers crossed for a successful Christmas!
The book has received, I am delighted to say, a glowing review from Kate Kellaway in the Observer. Here it is .....
...The cover of A Present for Father Christmas (Walker Books £9.99) by Dana Kubick, story by David Wood, looks conventional enough, with Santa in glittery red uniform riding through the skies with standard-issue reindeer.
But the proof of the Christmas pudding must, always, be in the reading. In my family, we all exclaimed over this pop-up book, not least because it has a great story (most pop-ups do little more than pop). And as I read it, I wished I had thought of the story myself.It is fresh and yet has a pleasing inevitability about it.
It's about a little boy called Sam who decides that Father Christmas needs to be given a present. Sam saves his pocket money and then, come December, is plausibly stumped (in the same way that many of us are about what to give our fathers).
On the night that Father Christmas visits, Sam has the money but no gift. Yet Father Christmas is touched by the boy's loving intentions and takes Sam off to do work experience with him. The tale moves nicely along, like an expertly driven sleigh, and carries its agreeably anti-materialistic moral lightly - 'helping' is more precious than any shop-bought gift.
News Item DIVDODFCO1D - 2008
DANNY IN VIENNA
(Danny oder Die Fasanenjagd)
In November 2008 I was delighted to see the first German-language production of my adaptation of Roald Dahl's DANNY THE CHAMPION OF THE WORLD.
It was presented by the excellent and celebrated Theater der Jugend in Vienna, and was a splendid production, with very good performances and imaginative set and lighting.
The audience, like those in the UK, reacted vehemently against the various injustices suffered by Danny and his father, and participated with great enthusiasm in the scene where they fool Mr. Hazell and his pheasant-shooting friends.
It was also a pleasure to meet Dramaturg Marlene Schneider, Artistic Director Thomas Birkmeir and Literary Manager Gerald Bauer. And what a beautiful city Vienna is! Here is a photo by Rita Newman from the production.
for more photographs click here...
News Item DAWNNCO1D - 2008
AWARD NOMINATION
News Item ACAJMCO1D - 2008
ACA J.M. Barrie Award 2008
In my capacity as Chair for Action for Children's Arts, I was delighted to introduce the ACA J.M. Barrie Award 2008 presentation, which took place at the British Library as part of The Big Draw, organised by the Campaign for Drawing.
Quentin Blake CBE was our worthy winner, and the award was presented by Adelaide Hill - it is traditional for the award to be presented to the adult winner by a child. It is presented annually to someone who works in children's arts, whose work has delighted children for many years, and whose work will, in the view of ACA, stand the test of time. A very happy occasion!
News Item CFJCO1D - 2008
CALIFORNIAN JAMES
In October 2008 I spent a happy - and sunny - week in Rancho Cucamonga, California as Artist in Residence to the Lewis Family Playhouse, whose resident company, the Main Street Theatre Company, were presenting my adaptation of Roald Dahl's JAMES AND THE GIANT PEACH.
It was a very enjoyable production, and the schools' matinees were all packed. It was a lovely production, and I enjoyed joining in post-show discussions on stage, as well as giving some workshops and lectures about children's theatre.
It was also arranged that I could do some sessions in schools, and some BOOKS ARE FUN programmes in the children's library, which is - quite intentionally - housed right next door to the theatre.
The City of Rancho Cucamonga is to be congratulated on its enlightened idea of creating a theatre - it has only been open for two years - that has, as its core activity, work for young people.
May the theatre, under the guidance of artistic director of the Main Street Theatre Company, Murry Hepner, flourish and prosper!
Many thanks to my kind and welcoming hosts for making it such an enjoyable trip.
Here is a review of the production...
James and the Giant Peach
Lewis Family Playhouse, Sunday, October 26
By: Red Vaughn
When a very involved and well-known children’s story is compressed into an hour-long work of art on stage, it’s always magical to see everything boiled down to the barest essentials.
The MainStreet Theatre’s production of James and the Giant Peach is no exception. Using two important notions—that kids have no shortage of imagination, and the stage is all about imagination—this production of Roald Dahl’s classic book has been placed in good hands with an adaptation from “children’s dramatist” David Wood and direction from theater vet Mark Rucker (South Coast Repertory Theater, Yale Repertory).
With inventive use of puppets, projections, shadows and balloons (always popular with youngsters), this version of Peach is perfectly-paced to hold the attention of children and adults alike. Colorful sets and zany costumes make for visual appeal and stage vibrancy.
The story is narrated in retrospect by James and his insect companions—most notably the blind pessimistic earthworm, hilariously played by John David-Keller.
Wood succeeds admirably in savoring the book’s quirky dark humor while keeping things active for those unused to sitting still.
“It’s so satisfying to do theater for kids,” says Rucker. “Introducing theater to people who either haven’t seen it, or haven’t seen it much, is kind of an amazing experience.”
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