One of the most memorable characters in children literature paws onto the stage in this original adaptation currently playing at Edinburgh Fringe Festival. Guillermo Nazara chats with the entire company about the creation and delivery of this family musical, to learn the most interesting facts about a show that promises a whisker of fun.
What has been the process of adapting these famous books to the stage?
Helena: We are a devising theatre company, which means that we create all the content working together in the room. We make our adult and family work in the same way. However, because Mog is an adaptation, we read the books then write out all of the set pieces and motifs and any ideas that we might have for songs. After that, we create lots of content and then refine it all!
Tom: The general process of making a show is broadly the same across all of them. We research and develop, take time away, and then come back together for a focused period of rehearsals leading into a show. The tone of the room, however, and the nature of discussions surrounding what we make can be vastly different. Often, when making family shows, we feel a little freer (although some might disagree) given that we aren’t thinking too deeply or philosophically about the messages we are trying to land. That work, particularly on a project such as Mog, has been done for us by the author of the book, Judith Kerr. As such, we can follow their ideas, get lost in the story in the same way a child playing with their friends would, and liberate ourselves a little more. It really is an unbelievably playful and joyous experience making work for children, young people, and families.
Ben: We usually start with research and development, lots of improvisations, experimentations and discussions. Then we start creating scenes and characters, and eventually we start sewing those ideas together into a larger piece of work. We’re very aware of our audience as we create our work, and that informs the sort of stories and characters that we create. However, fundamentally our creative process remains the same: research, discussion, experimentation, creating scenes, characters, storylines, and then refining our material into a satisfying and theatrical whole.
How did Mog the Forgetful Cat come about?
Helena: We were approached by the Old Vic after they had seen some of our other work for children. We then met the team at Harper Collins to share our ideas for the stage adaptation – luckily they liked them! We then did a one week R&D where we read all the books and decided which ones we felt translated best to the stage.
Hannah: The show was supposed to open in 2020 but obviously the world had other ideas… So we paused the production process but kept thinking and talking about Mog. In 2022 we were finally able to restart, with most of the same team we had before!
Are the Judith Kerr books something that you all grew up with?
Tom: They certainly are! I loved reading Mog and The Tiger Who Came to Tea. There is such warmth contained within their pages. We spoke a lot in the early stages of research about the feeling you have as a child when you read a book for the first time or, as often is the case in schools and in homes, you are read to by a teacher or a family member. It is so powerful and so wonderful. It provides a moment of safety and comfort and it is an absolute pleasure to have a job that brings stories to life in a new way for children and their families.
There’s music involved – tell us more about that. How has the creation process worked?
Ben: Joey Hickman originally composed the music and wrote a lot of the lyrics, though other members of the company have written some of the lyrics too. Our creative process allows for good ideas, lyrical or otherwise, to come from anyone in the room!
Do have a favourite part?
Kerry: I think the trip to the V.E.T is my favourite part. What should be a fairly standard visit to get a sore paw fixed really escalates into a frenzy of dogs, parrots and hamsters chasing Mog about the waiting room creating havoc – and there is a pretty catchy song in there too.
Tom: I love playing Mr Bunce. We use Mr Bunce, and other characters like the Vet and the Policeman, as narrators to link together the stories we are telling and to give the children a familiar presence to follow throughout. It’s so joyous having the chance to be that touch point for the kids and is a role I relish.
What is important to keep in mind when creating a show for families?
Helena: I always channel my inner child when making shows for family- I pursue joy and fun in a really active way. I also always think about the ride of the show, when the children might need lots of busy action and when they may need quieter moments and making sure there’s lots of clear shifts.
Tom: That life is precious and our job is a privilege. Often when working in theatre you can get lost in the idea that you are doing something grand and glamorous. Acting is a privileged position. You are stood on a stage in front of hundreds of people commanding their attention, and that can stoke the ego in many ways. Creating work for families grounds you in many ways. It helps you to hone in on what is really important. The silliness, the fun, the joy of telling stories and bringing stories to life for people. It is a daily reminder not to take yourself too seriously and to cherish being in the moment and recognising the importance of family, community, creativity and the arts.
Why come see ‘Mog The Forgetful Cat’?
Tom: Warmth, playfulness, silliness, comfort, joy, nostalgia.
Ben: The show should be entertaining, fun, silly and make children and adults laugh side by side in equal measure.
Mog the Forgetful Cat plays at Underbelly’s McEwan Hall at the Edinburgh Fringe Festival until 27th August. Tickets are available on the following link.