Review: THE SECRET GARDEN Blooms at The Star Theatre

THE SECRET GARDEN by Frances Hodgson Burnett is a favourite novel of mine, and a book that gently guided me into the re-opened world when I read it this year. I think it's relevant to preface my review with this, since the book was still fresh in my mind when watching The Cape Town Theatre Company's adaptation of this timeless classic.

THE SECRET GARDEN opens vibrantly, immediately transporting us to Mary's world in India as we join her journey to the Yorkshire Moors. There, she stays at Misselthwaite Manor, owned by her uncle, Mr Craven. She starts exploring the manor's grounds and discovers a hidden derelict garden. Amazed by her discovery, she starts tending to the garden with Dickon, a boy from the moors, and her sickly cousin Colin, who is equally emotionally neglected as parentless Mary. The three children start restoring the abandoned garden, giving it the love and care they lacked, which in turn heals them.

The show is mostly faithful to the book and manages to capture its atmosphere, especially in the first act. This is a testament to the show's outstanding production design, wherein a clear imaginative vision was transposed onto stage. With moving set pieces and effective prop use, the mise en scène feels understated yet extravagant. It is truly a versatile design that was utilized in clever ways - kudos to the technical crew for creating and arranging such a high-quality production! I also want to commend the blocking and choreography of the ensemble - with a cast of 22 performers it must have been no easy feat.

The cast is impressively dedicated, and the commitment from the entire ensemble grounds the often-lavish production style. I viewed the evening with the 'portrait' cast, and it was a joy to see such a variety of performers with different strengths, sharing their unique talents so passionately onstage. There was also excellent accent work by some of the actors - Sarah-Kate Bergstedt as Martha, Jessica Stanley as Mrs Sowerby, and Robert Shenton as Ben Weatherstaff are particular standouts.

As a big puppetry aficionado, I must highlight the production's puppetry design. Kahlil Visser's puppetry designs are beautiful and inventive, using a mix of found materials and impressive craftsmanship to create animal puppets that enchants the stage. Although not all the performers seemed equally comfortable with puppet manipulation, some really excelled - Clifton Wagenstroom's manipulation of the pheasant is a notable example. The show demonstrates the power that puppetry offers, adding to the magic of the show.

Although the music also helped to sustain the magical atmosphere, the audio sometimes felt a bit overblown, and I think the production could benefit from quieter moments - think of the still tranquility in a garden. Nevertheless, the production continuously held my attention, and reminded me why I adore the book in the first place.

[NOTE: Skip the next paragraph if you want to avoid spoilers]

While the first act follows the book closely, with some dialogue being direct quotations, the second act takes a bit of creative liberty and transforms Mrs Medlock into the narrative's antagonist by revealing that she has been poisoning Colin. I understand why this is necessary for a theatrical adaption, since the original book unfolds without extreme narrative thrust. This is perfectly fine for a book format, but theatre requires a visceral tension to pull a story forward. With that being said, the resolution of Mrs Medlock's antagonism happens so quickly, and I would have appreciated if Mrs Medlock's arch mirrored the story's themes of healing and emotional wellbeing. Then again, she did poison a child...

Regardless of the change in plot, the production still gets to the heart of the book, and the essence of theatre. The Cape Town Theatre Company describes their purpose as follows: to create quality theatre for amateur players and theatregoers, while being accessible to all. In many ways, amateur theatre is like the gardener of a community, tending to the physical and mental health of its performers and viewers. THE SECRET GARDEN embodies exactly this; with its inspiring, imaginative, and joyful take on the classic book (hopefully introducing the novel to new audiences in the process).

In his director's note, Stephan Fourie states that every element of the production was created as an act of love. This shines through. Thank you to the entire cast and crew of THE SECRET GARDEN. The Cape Town Theatre Company and their dedicated work adds to the garden of our local theatre landscape, allowing talent to grow and a community to flourish.

Photo credit: Ingrid van Blerk

THE SECRET GARDEN is on at The Star Theatre at HCC until 17 December. Tickets are available on Quicket (https://qkt.io/thesecretgarden) from R150.

To post a comment, you must register and login.