Review: Brisk Business at Cape Town Fringe Will Ensure That THE GRUFFALO Franchise Continues to Grow

2

A franchise is a powerful thing. Were it not, we would have been saved from countless direct-to-video sequels to classic Disney films, beginning with THE RETURN OF JAFAR in 1994. We would also be safe from the overblown "live-action" remakes of Disney classics like the deplorable remake of ALICE IN WONDERLAND in 2010. However, franchises are do not exclusively bend to the law of diminishing returns and Disney is not alone in attempting to monetize its properties. THE GRUFFALO, which I caught in the middle of its extended and largely sold-out run at the Cape Town Fringe, debuted in book form in 1999. In its 17-year existence, Julia Donaldson's THE GRUFFALO, with its iconic illustrations by Alex Scheffler, has been adapted as an audiobook, inspired the design of jigsaws and soft toys, seen a song composed about its titular character, spawned a sequel and several other books, served as the subject for a real-life woodland trail, been the subject of pitch for Gruffalo-inspired suitcases on DRAGON'S DEN, and been transformed into an Academy Award and BAFTA nominated short film. It has also been the subject of two stage adaptations. One, by Dutch theatre company Meneer Monster, had its South African premiere at the Market Theatre Laboratory two years ago; the other, created by the Tall Stories theatre company, is the production that recently made its bow at this year's Cape Town Fringe.

It is clear that the story of THE GRUFFALO resonates widely with its young fan base. Built around a mouse who visits a forest in search of a nut to eat, THE GRUFFALO pits its tiny hero against all manner of possible woodland creatures who want to eat him. He outsmarts all of them by inventing a fearsome creature called a Gruffalo, and all seems well - until an unexpected twist forces him to top the ingenuity upon which he has called to get himself out of trouble thus far.

1

I have to admit that, despite being a huge follower of children's fiction, THE GRUFFALO has never quite worked for me. Yes, Donaldson's plotting is first-rate she communicates appealing ideas about thinking fast and using your imagination and standing up to bullies through that plot. But THE GRUFFALO also comes across as something of a handbook for young politicians, a treatise on how to make your lies work for you and walk away with a reward when the House disperses.

This stage adaptation of THE GRUFFALO was created by the original company of the show, with songs by Jon Fiber, Robin Price, Olivia Jacobs and Andy Shaw. Sticking close to the book and capitalising on its trademark rhymes, the play uses the songs to augment the characters and action of the piece. The score is charming, alternating between songs that gently ease the audience into the world of the play and bouncy numbers aim to get the viewers' hands clapping and feet stomping. Technically speaking, the lyrics are crafted fairly well, although there are some half-rhymes and odd scansions that occasionally get in the way of clarity. The South African version throws in a few localisms but otherwise remains faithful true to what has worked for this franchise for nearly two decades.

Although taking its cues from the original production, particularly in the costume and set designs coordinated by Isla Shaw, the local production of THE GRUFFALO has been staged by a local director, Tara Notcutt, with choreography by Cleo Notcutt. The Notcutts' work on the piece, firmly rooted in the tradition of junior pantomime in its playing style and snippets of audience participation, addresses its young charges directly and in moments when the production captivates them, it really captivates them. There are times, though, when both the piece as written and the approach conspire, especially in a venue the size of City Hall 1, to set free the varying attention spans of the young people in the audience. Nonetheless, it is never long before a rhyme about owl ice-cream or a bouncy song like "G-G-G-Gruffalo" of "What Gruffalos Do" bring busy minds back to the play.

2

The company of THE GRUFFALO all deliver enthused and energetic performances. In the title role, Ayanda Nondlwana shows great skill in working with the audience from the stage and in the auditorium, also registering strongly as a narrator in the first half of the production. Mandisi Heshu delivers a sympathetic reading of the timid, but crafty Mouse, while Sisonke Yafele makes a meal out of the predators, making a thoroughly delightful Owl in particular. All three battle valiantly with the score, especially Heshu who has to content with tracks more suited to the vocal ranges of the women who traditionally take on the role of Mouse. The trio works hard to act over their difficulties in singing the score, but ultimately only Nondlwana manages to master the material in a manner that keeps the storytelling going from start to finish in his songs. As the piece continues to run, I would like to see a stronger lead taken in the musical direction of the production, with a specific focus on empowering the actors to master the score so that it works for them as actors rather than overpowering them as musicians.

THE GRUFFALO seems to have done brisk business at the Cape Town Fringe and is sure to have a life on South African stages beyond this initial engagement, with an isiXhosa version already lined up for next year. It will be fascinating to see how this process of translation plays out as the next entry into this franchise's commodities is developed.

THE GRUFFALO ran for 12 days of the 17-day Cape Town Fringe as part of the Fringe's Family Fare programme. Other productions on this platform that still have performances until the end of the Cape Town Fringe include LE RÊVE DE LUCIE and WHEN LION HAD WINGS.

To post a comment, you must register and login.