Picture: Jake Haseldine
Malory Towers continues at Alexandra Palace, London until 2 August.
Star rating: three stars ★ ★ ★ ✩ ✩
Many ‘ahem’ millennial-and-older Musical Theatre Review readers will very likely remember Enid Blyton’s Malory Towers series, published between 1946 and 1951 but forming a significant part of childhood literature for many subsequent generations. Emma Rice’s recent theatrical adaptation brings the stories back to the forefront for fans of the original books, through a format that attracts younger audiences into the fold as well.
True to the books, the stage production follows Darrell Rivers (Robyn Sinclair) as she starts a new boarding school alongside Mary-Lou Atkinson (Emily Panes), Alicia Johns (Molly Cheesley), Sally Hope (Bethany Wooding), Irene Dupont (Stephanie Hockley) and the infamous Gwendoline Lacey (Anna Soden). The cast is superb, both individually and collectively, and each fully embodies the quirks and habits of their characters as they navigate the trials of friendships and independence in a new setting.
Some elements of this production are extremely impressive, not least the live musicianship. Hockley double-hats as the onstage MD, on the piano for much of the production as well as participating in scenes as her character Irene, and many of the cast also incorporate instruments either as part of their scenes or as accompaniment on the side of the stage.
The outstanding vocal talent of the cast is also evident in various solo moments as well as the full company numbers, the latter showing off some beautiful harmonies amongst the group.
The musical numbers are something of a mixed bag, however, with a slightly awkward juxtaposition between Ian Ross’ original compositions and some recognisable tunes of the era including ‘Mr Sandman’ and ‘Sing Sing Sing’.
The score as a whole is unfortunately an occasionally-forgettable backing to the production, rather than it serving as a memorable part of the story or opportunity to advance the plot Nonetheless, it offers an opportunity for the cast members to showcase their vocal skills as well as the effective choreography from Alistair David.
The production is clearly aimed towards the younger demographic and, judging by the reactions of many families in the audience, does a very good job of appealing to that age group. Perhaps a little more sophistication in order to hook back the original – now adult – fans of the Blyton novels would not go amiss, as at times the script and presentation feels more like a pantomime production, offering little beyond simplistic, repetitive dialogue and overly earnest delivery.
In striving to maintain a high-energy and engaging show for younger audience members, the a welcome variety in tone is sacrificed. Many scenes rely on heightened, shouted exchanges, meaning quieter and more reflective moments, which might have added some welcome emotional depth and contrast, are relatively few.
Despite these shortcomings, there is an undeniable charm to Rice’s adaptation, and the commitment of the company is impossible to fault. While the production occasionally sacrifices subtlety in favour of broad family entertainment, it does succeed in capturing the spirit of friendship and adventure that has kept Malory Towers beloved for decades. For younger audiences especially, it offers an engaging introduction to Blyton’s world, while older fans will still find moments of nostalgic to savour among the exuberance.
Sorcha Exworthy
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