Review of ‘Malory Towers’: “Low-grade adaptation barely has a pass”

The mob has spoken. Or so they claim. It’s not like the theatre was packed on the night I attended. Yet, I will admit there was a considerable number of children- girls, primarily -holding their favourite editions of Enid Blyton’s popular book series, ready to immerse themselves in the magic of a 1940s Cornwall boarding school. Whether this was their first time or not is difficult to tell. But whatever the case, the youngest audiences are likely to be pleased. Some adults, however, might need to remind themselves that they’re just doing it for their kids.

It’s not a bad show. But it’s a lacklustre one. Primarily, on a dramaturgical level. Emma Rice’s version struggles to deliver anything more than a moderately entertaining retelling. And even in that department, the execution is slightly clumsy.

Saying the show is intended for the little ones would be a deflection. It’s not like Blyton’s story isn’t infused with depth and gravitas. All the characters brim with it in some way or another through the themes they represent. There’s the sense of belonging and camaraderie. The inevitable bullying some students endure. The harrowing psychological effects of war. And above all, the idea of self-defined individuality, whether that’s channelled through artistic expression or by challenging societal norms.

Rice’s script brings up all those topics, but that’s as far as her efforts go. None of the personages undergoes a fulfilling arc. Most of them remain at the same point where they started for the entire performance. And if they don’t, their transformation is so abrupt it can hardly make an impact — coming off as melodramatic at best and misguided at worst.

Although the plot is enjoyable, Rice’s writing fails to build the tension required to make it work. Overall, the pacing is flawed. Every conflict is handled in haste. There is nothing intriguing about them, as their resolution can be spotted the moment they are introduced. As a result, the engagement is low. Caring about what’s happening becomes a conscious task rather than an instinctive reaction — mainly because the text has no instinct for that at all.

Conceived as a hybrid between a musical and a play with songs, the numbers are generally enjoyable. They are not used in the most organic manner, nonetheless. Most of them feel shoehorned into the narrative. And beyond providing some additional exposition, which only applies to half of them, their dramatic contribution is completely insignificant — if not nonexistent.

There’s nothing stunning about the design, which demonstrates limited resourcefulness. An upstage white Gothic wall serves as the show’s sole piece of scenery. Across it, projections of mottled cartoon-like animations help morph the space from one scene into another. It’s not the most imaginative approach. And the fact that there’s not much theatricality in any other aspects of it doesn’t improve the impression, which is underwhelming for the most part.

The cast is the only redeeming feature in the production. But they should take great pride in it. Some portrayals aren’t as layered as one would desire, but their stamina, rapport, and impeccable singing make them still praiseworthy. Among them, Anna Soden earns the highest mention through her energetic performance as Anna Soden, while Zoe West makes another memorable appearance through their soulful rendition of the tomboyish Bill Robinson.

Although there’s an element of charm to it, Emma Rice’s adaptation doesn’t seem to be on the same page as Blyton’s beloved novels. Beyond the basic enticement of its source material, the piece is incapable of conveying any noteworthiness — perhaps because it ignores that a school-based show shouldn’t come across as one made by a school.

All pictures credit to Steve Tanner.

Malory Towers is on tour across the UK until 2 August. Tickets are available on the following link.

By Guillermo Nazara