David Walliams’s best-selling children’s book relives onstage through this new adaptation travelling across the UK until the end of the year. Guillermo Nazara shares his views on the show, to let us know if this production is either giddy or sally.
We all have that relative that can’t help but feel not particularly fond of. Maybe it’s in their face, their warm embrace or their terrible morning breath; or maybe it’s just the fact that they have murderous psychopathic tendencies channelled through their pathological obsession to get that deliciously sweet inheritance – I shall kil-… Well, there had to be a reason why I moved to another country…
Whatever. Welcome to Awful Auntie, the stage adaption of David Walliams’s children’s novel, revolving around… well, the title says it all, doesn’t it? Picture a super posh young lady (no, not me – but thanks for the compliment), a ravishing two-century-old mansion and an a hideous, screeching maggot scavenging for their goods – and her owl is no joy either! Get ready for torture, witchcraft and a couple of suspicious deaths in this blissful family show that will remind you of the importance of friendship and setting boundaries with those who try to get you out of the map. The fight is on, and it’s not going to be a pretty picture – especially, if that aunt is featured…
Adapted and co-directed by Neal Foster, who also stars in the villainous role of Aunt Alberta, the piece is a mildly entertaining ride boasting a bunch of chuckles and one or two bits of boisterous cackling. Sadly, though, this is not the general vibe that we get through most of the journey – presenting us with a story which, despite a few engaging moments, feels rather predictable and underdeveloped on the whole.
Though introducing us to some rather interesting, and all in all entertaining characters, it’s difficult not to notice how little advantage it’s been taken out of their huge potential. Relying on too much action (which, at the same time, lacks enough twists and anticipations to build a functional structure, and in the end, compelling narrative), the absence of a more elaborate background, and pauses in the plot that can bring out their particular traits, results in a hollow outcome that, most wistfully, continues to feel rushed and unpolished all throughout.
Counting on traditional staging techniques, the use of a revolving set with different ambiance, combined with puppetry and a slightly meticulous lighting design, make of the production’s values the strongest aspect of the entire montage. However, there’s space for some improvement, as several scenes could benefit from some more intricacy, while others would boost their dynamism had they been resolved in a simpler, more imaginative manner. We mustn’t forget that the show is aimed at children, but there are still ways to get their approval while providing them with a few challenges.
As for the cast, the company manages to carry out their portrayals with remarkable commitment – at some points, matched with some touches of flair and magnetism. Among them, the highest mention goes to, once again cited, Neal Foster as the infamous Aunt, giving quite a laudable rendition which shows off his exceptional skills as a character actor, as well as his inherent comedy bone. A small flaw should be acknowledged about the way his part is depicted, nonetheless, as despite being faithful to the source material regarding her looks, the lack of some grotesque makeup (or of any kind, for that matter) prevents the audience from being fully immersed into his, on the other hand, quite spotless interpretation.
Parting from an enticing premise, while offering us a few sneak peeks of its budding, but yet-not-harvested, brilliance, Awful Auntie sets the roots for what could have been a hilarious, amusing and, somehow, moving bouquet of family entertainment – but struggles to flourish into anything else than an excessively linear, unsurprising recount with not too many thrills or shocks other than its electrocution scene (which has given me an idea about how to deal with bratty kids in the future…). It’s a blissful journey. But needs work before becoming awfully good.
By Guillermo Nazara