Pinocchio review

It’s a smart move providing children (and adults too) with plenty to admire before this effervescent production, directed by Justin Audibert, even begins. Jean Chan’s enchanting set design comprises layers of proscenium arches illustrated with stylised images from the natural world that unfurl like swirling stained glass, reminiscent of Marc Chagall. It’s really gorgeous and prepares the audience for a full Technicolor experience. When the set opens up, we’re transported to a chaotically cosy workshop, a quaint toy town, and even an interlude inside a fish’s belly. The young audience’s audible response to such visual delights is hugely heartening.

Eve Leigh’s witty adaptation leans into the uplifting side of the story, originally penned by Carlo Collodi as a moral fable in 1883, but probably best known from the 1940 Disney film. Kindly toymaker Geppetto longs to experience parenthood – his cat, Marmalade, isn’t quite enough – and the doll Pinocchio comes to life with a bit of magic. Adventures and ponderings on morality and mortality ensue, before Pinocchio learns, on Christmas Eve, whether he’s earned the privilege of being a real boy.

Leigh doesn’t litter the script with any preachy morals or on-the-nose (sorry) political references. However, when Geppetto explains to Pinocchio that the worst thing about telling lies is that it implies other people don’t matter, there are certainly echoes of the government’s attitude towards the public in our current post-truth society.

This isn’t a fully fledged musical, but composer Barnaby Race supplies a couple of lively song-and-dance numbers, boosted by the contribution of onstage musician Sam Pay. The puppetry, designed by Chris Pirie and directed by Laura Cubitt, soars in the second half, eliciting screams of delighted terror when a giant dogfish puppet lunges at the audience.

Peyvand Sadeghian is a bundle of eager, gawky energy as Pinocchio; her wooden boy is endlessly inquisitive, and both endearing and rather horrid when he falls under the wrong influences. Tom Kanji is an unusually youthful Geppetto, trying hard to be a good father and to instil self-esteem and strong values in Pinocchio by offering positive reinforcement; Kanji also doubles as his antithesis, louche conman Fratello. Eleanor Wyld plays a benevolently world-weary Blue Fairy with a gravelly Brooklyn accent, as well as a tyrannical, oversized Duchess and Pinocchio’s bossy but well-meaning classmate Polpetta, with sticky hands and a comically oversized hair bow.

Our clever and independent feline narrator Marmalade (Susan Harrison) is all sweet snuggles and little nips of affection. Geppetto warns her: “Don’t make it all about you”, but when there’s a cat on stage, she’s inevitably the centre of attention – and quite right too.