THE BOX OF DELIGHTS

★★★★★

_REVIEW.   it’s about _THEATRE.   words _KYLE PEDLEY.
  at _RSC STRATFORD-UPON-AVON.   tickets _OFFICIAL SITE.   booking until _7th JAN.

November 9, 2023

images © Manuel Harlan @ RSC.

You’d be forgiven for presuming that the first playwright to have their work performed on the Royal Shakespeare Theatre upon its opening in 1932 (monikered at the time as the ‘Shakespeare Memorial Theatre’) would have been a certain namesake Bard.

The honour, in fact, fell to Poet Laureate John Masefield, who had penned a poetry piece in honour of the RST’s predecessor, which had been consumed by a fire in 1926.

There is history and resonance aplenty, then, in the RSC turning to one of Masefield’s classic publications, festive fantasy The Box of Delights, for their 2023 Christmas offering in Stratford-Upon-Avon.

It’s far from the first time we’ve seen an adaptation of the novel, which offers up echoes of the likes of Narnia and early Harry Potter (despite predating both) with its biscuit-tin Christmas aesthetic and thoroughly English sensibilities (“now my wallet is gone, I have’t a tosser to my kick”, its lead disparages early on). A six-part, BAFTA-winning tv adaptation in the Eighties, whilst aesthetically dated by modern standards, remains a classic for many, with Den of Geek recently naming it “one of the most magical Yuletide dramas that the BBC has ever made.”

A multitude of radio and stage incarnations have since followed, most recently featuring Olivier-winner Matthew Kelly on dual-role duty as the tale’s warring wizards at London’s Wilton’s Music Hall. But now is the hour of the RSC to house the old favourite (Box, that is… not Kelly).

In many ways, this will be a deeply familiar Box to those who experienced the fantastical playground conjured up at Wilton’s. It is once again using writer Piers Torday’s imaginative, characterful translation of the book to stage, and a particular coup sees the return of Tom Piper’s glorious design wizardry and set magic.

Its whimsical story follows the low fantasy adventures of young orphan Kay (Callum Balmforth), as his much-anticipated holidays and otherwise normal world are interrupted by a clash between two time-travelling sorcerers. One, naturally, good… the other less so.

When wise, venerable ‘good’ wizard Cole (Stephen Boxer) spirits himself away to avoid the clutches of the villainous Abner Brown (Richard Lynch) and cronies, he leaves Kay in possession of the precious, titular macguffin, which is said to yield both wondrous yet also potentially disastrous power. It’s up to Kay to take off on a genuinely magical adventure peppered with puppetry, flying cars, dazzling phoenixes, witches and wizards and even animalistic transformations, all to save his friends, his townsfolk and, more importantly, Christmas itself. We’re ominously warned that ‘the wolves are running’, people are disappearing, and of course there’s the ever-looming threat of getting ‘scrobbled’.

“Balmforth is a spirited and likeable lead… but it’s the fantastic line-up of supporting characters that keep Box’s fantasy hijinks firing on all cylinders.”

Fortunately for Kay, along for the ride and festivities are the Jones children – feisty, gangster-loving, gun-toting Maria (Mae Munuo) and nervy, fussy Peter (Jack Humphrey). It’s here where Box conjures up amongst its greatest of magics. Balmforth is a spirited and likeable lead, an earnest grounding rod around which the spectacle and wonderment can ebb, but it’s the fantastic line-up of supporting characters that keep Box’s fantasy hijinks firing on all cylinders.

Munuo is terrific fun throughout as fearless, sardonic tomboy Maria. Quick to anger, fiercely defensive and always ready with a side-splitting one-liner or put-down, when confronted by is-she-isn’t-she witch Sylvia Daisy Pouncer (a similarly-impressive Claire Price), Maria naturally challenges her to a pistol repairing contest. She’s beautifully complemented by her ‘plank’ of a brother, Peter, a retiring, disapproving yet kind-hearted sort of Eton boy in-waiting. RSC favourite Jack Humphrey gives one of the finest and most routinely hilarious turns of the night, as his finicky yet lovable Peter bemoans the whole affair for being ‘the purple pim’ or giving him ‘the fantods’. The Jones duo are utter joys of characters and performances both.

“The Jones duo are utter joys of characters and performances both.”

Elsewhere, Stephen Boxer is a venerable Gandalf or Dumbledore-esque figure, with a glint in his eye and occasional spring in his step as the goodly Cole, whilst Samuel Wyers’ puppetry beautifully brings to life his canine companion Barney (amongst others). Credit to Alex Cardall, Tom Chapman and Rhiannon Skerrit for their impressive work here throughout. Stage veteran Annette McLaughlin is a hoot as the children’s easily-exasperated yet mild-mannered guardian, Caroline Louisa, Timothy Speyer pitches his animated Bishop perfectly for the tone of the show, and Melody Brown is another side-splitting scene-stealer as a shrill, passionate yet bolshy Mayor. Janet Etuk, meanwhile, brings a noble and calming presence amidst all the fluster to one of the show’s most fantastical characters and sequences, as Herne the Hunter.

Thanks in no small part to its vibrant cast, Box is wholesome, effortlessly entertaining and brilliantly executed family fun throughout. It’s also, beat-for-beat, one of the most unexpectedly funniest treats of the year. Sure, the villains, particularly Lynch’s Abner, get slightly shorter shrift, and it’s here, with its cheese-gobbling rodent henchmen and heightened climactic showdowns where the show veers closest to panto campness. Still, younger audiences in particular will likely appreciate a clear, suitably boo-hissable ne’er-do-well to rally against, and big set pieces such as the watery finale.

“…rich with flourishes of wonderment and fancy throughout.”

Piper’s design work is rich with flourishes of wonderment and fancy throughout. From the offset, Box’s towering, clockwork staging presents levels, hidden passages, hidey holes, trapdoors and all manner of verticality and surprise. Whether presenting a dusty, abandoned attic, a foreboding snowstorm or even more ambitious footing such as a flooding underworld or magical forest scape, this is an opulent, regularly dazzling production, with its chameleonic set bolstered by some stunning projection, video and lighting work. It’s comfortably one of the most transportive and immersive festive adventures you will likely see in a theatre this Christmas.

And speaking of Christmas, replete with humour, spectacle and bedazzlement aplenty, Box of Delights cements itself as another festive cracker for the RSC. It takes a much-loved classic and brings it to light with gorgeous production value, imaginative staging and a wealth of loveable, hilarious characters all winningly realised and vibrantly performed.

If it’s family fun you are after this holiday season (and make no doubt, it is very Christmassy), this Box of Delights is a joyous must-see, and does and is exactly what it says on the (festive biscuit) tin.

A charming, dazzling, disarmingly funny and occasionally campy flight of rich, family fantasy fun. Boasting colourful characters and winning performances, this ‘Box’ is beautifully wrapped, has plenty to love inside, and is comfortably a festive must-see this Christmastime.

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