Bloated with bombast, his Stromboli is finally deflated by Pinocchio, who pricks his swollen stomach with a splintery finger. Luke Heydon is a lovably eccentric Geppetto, Will Kemp a dastardly, scene-stealing manipulator of toys and boys. He betrays Geppetto's trust by bunking off school and getting involved in puppet master Stromboli's nefarious schemes. His nose really does grow longer when he tells lies. Cathy Marston's Fairy is as bearable as can be, zipping around on her spangled scooter and exposing Pinocchio's unfamiliarity with the truth. Like Tinkerbell, she's a self-righteous pain, her reproaches spoken in voiceover, while the rest of the cast speak for themselves. Geppetto tries to steer him on to the straight and narrow, assisted by the Blue Fairy, who acts as his conscience. His wonky limbs seem to hinge in any direction, as wayward as his sense of what's right or wrong. Matthew Hart's Pinocchio is a perilous innocent, a hazard to himself and others around him. He's the wooden puppet who emerges from a tree trunk when old man Geppetto lops off a branch.
But the ingenious sets by the Quay Brothers encourage everyone to use their imaginations and see the world through Pinocchio's curious eyes. The music tends to drown out the words, leaving younger children (and plenty of adults) somewhat in the dark. Martin Ward's score, played on stage, evokes Italian folk tunes, a fairground hurdy-gurdy, a low-life jazz band. The story is told in a semi-nonsensical Eyetalian language, spoken and sung, while much of the action is danced. Pinocchio presents childhood as a state of natural anarchy, ruled over by arbitrary adults often up to no good. That had a wistful narrative about the passing of the seasons, youth, life itself. The result is much less cuddly than Tuckett's previous festive show, The Wind in the Willows, created for the Linbury in 2002. William Tuckett's new Pinocchio, however, by-passes the Disney animated film and returns to the 1883 book, adapted by children's writer Phil Porter. But over the years, staged versions (and Disney films) have made the past a safer, sweeter place. Pre-Freudian writers of children's tales had no qualms about conjuring up scary nightmares and awful moral fates. Family-friendly though Pinocchio and The Nutcracker may be, the original stories on which they're based are dark and troubling, which is why they have endured.
It is a joy to find dance productions at this time of year that aren't drenched in nostalgia for long-lost childhood.
ORIGAMI PINOCCHIO NOSE PROFESSIONAL
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