Review: THE WICKER HUSBAND, The Watermill Theatre

I predict increased global demand for all things uplifting. From comforting reruns of Friends on Netflix to umpteen TikToks of gorgeous, giggling babies, humanity is crying out for reasons to be cheerful.

Enter, then, The Wicker Husband - a toe-tapping tonic for the soul disguised as a folk musical. Half world premiere, half returning reboot, its original March 2020 run was cut short when theatres shut for the pandemic. Now it's back in all its heartening glory and, from start to finish, it delivers in droves.

The journey towards this production of The Wicker Husband - the Watermill's latest original musical - starts in 2011, when scriptwriter Rhys Jennings read author Ursula Will's short folk tale of the same name. He loved it, and so began his mission to bring it to the stage. As luck would have it, he met composer and lyricist Darren Clark while touring a children's show and the tale seemed to bring out the best in them both. Together they have crafted a truly bewitching piece that cuts through so many of the clichés of modern musicals and, instead, delivers pure joy.

The set (strikingly designed by Anna Kelsey and beautifully lit by Hartley T A Kemp) is dominated by a calming willow tree. That tree, in fact, turns out to be a character in its own right - a central personality that comes to connect the players beneath it.

And there are many. The company, under the ingenious direction of Charlotte Westerna, has done a sterling job of bringing together a fabulous collective of no less than 15 performers, many of whom morph effortlessly from acting and singing to dancing and playing an instrument. Folk is a genre that lends itself to that of course, as every character springs to life through Clark's cheery melody.

The story is woven around the central character of Ugly Girl, as she leaves the safety of Tree and tries to sell her wares in the nearby village. Gemma Sutton plays her perfectly, switching between grumpy outcast and wide-eyed love interest with ease. Her voice is dazzling and she charts remarkable range, bringing a fascinating mix of Disney princess and Ursula the Seawitch to the part. The audience love her. And she is in good company, with standout performances from Olivier Award winner George Maguire as the voice of the Wicker Husband and Julian Forsyth as the Old Basketmaker.

But this is a true ensemble piece and, like all really good ensemble pieces, every single member of this cast finds their moment to shine - from Angela Caesar and Joe Alessi's amusing husband-and-wife duo to Nisha Anil's dedication to expertly playing the Wicker Husband's feet. Davina Moon and Jack Quarton are especially vivacious as the Tailor Couple, while the Innkeepers (Claire-Marie Hall and Jonathan Charles) win my vote for most entertaining facial expressions. The onstage band, meanwhile, perform their socks off, going above and beyond to bring The Wicker Husband's music to life with humour and heart.

But any review of this show would be incomplete without an outpouring of love for its puppets: its glorious, larger-than-life, can't-take-your-eyes-off-them puppets. Designed and directed by Finn Caldwell and animated by Anil, Maguire, Sebastian Charles and Tom Norman, these puppets are some of the best I have ever seen. They are quirky and captivating feats of engineering, and their presence completes the sheer joy that springs from the stage.

And so, The Wicker Husband feels like a collective exhale. As the performers exit and the lights come up, smiles abound across the auditorium and our energy feels renewed. For a couple of blissful hours, Clark, Jennings and their talented team successfully shut the badness out and usher the light in instead. I couldn't recommend this beautiful musical more. Get tickets if you can.

The Wicker Husband at the Watermill Theatre until 26 March

Photo credit: Helen Maybanks

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