If You Give A Mouse A Cookie: Assembly George Square
Kid’s shows come in all shapes and sizes – some go all out with music and lights, others opt for high energy silliness throughout… whereas others take a more gentle approach. If You Give a Mouse a Cookie made it’s mark not because of any tricks or particular jokes, bur rather because it was just good kid’s theatre.
The story was quite simple – starting with a boy left alone to read his comic book, he soon is approached by a mouse requesting a cookie. Things quickly escalate as the mouse becomes more and more demanding. Much silliness ensues as the mouse attempts to drink from a giant glass of milk, give itself a haircut, refuses to take a nap and eventually ends up asking for another cookie.
Although this play is an adaptation of a children’s book it’s not one I am familiar with. I was reminded though of the ‘Tiger Who Came for Tea’ in that, you might imagine a Tiger being a rather fun visitor but actually – it’s all quite exhausting! In this story, whilst the mouse was rather demanding and the boy certainly found her exasperating at times – their relationship really was rather sweet.
The story was rather cleverly delivered by the boy initially addressing the audience directly and through added asides throughout the play. A lot of the telling really was in the interplay between three people – the boy and two mice who sometimes switched places and at other times bounced off each other. In our discussion following the play, Thomas thought the two mice were the best. Whereas Katie thought the second mouse was ‘pretend’ and was just there to make the boy feel like the ‘proper’ mouse was a LOT of work. I’m not sure – but either way – the mice were funny!
Whilst some dialogue was necessary, much more was delivered through movement and music. There were moments everyone in the audience couldn’t help but laugh and others where the kids just wanted to dance along. Music was interjected in certain moments throughout with some familiar pieces appearing, along with others that just helped the story along.
Audience participation was minimal (no being dragged up on stage!) but I did really appreciate the way the actors involved the kids at certain moments – asking a question or two and asking for their help to throw things at the stage for a particular scene. I thought this was just a really lovely way to bring them into the story and make them part of it’s telling.
The staging for the play was really very simple – just a few white frames with minimal scenery. The size of the venue automatically makes is a quite intimate experience with the front row very much on the stage. I felt it was quite tricky for the actors to address the audience at the sides of the stage – so would advise you to try and sit centrally if you go as the initial dialogue was directed here. Whilst my kid’s certainly didn’t pick up on this, I thought the kids who were sat there would’ve gotten more from the start.
The play lasted just under an hour but this was perfect for my kids. Katie (almost 6) and Thomas (just 3) both sat quite happily throughout the show and clearly enjoyed themselves. I asked Katie what she liked best and her response was simple, ‘Everything!’ When I attempted to press her further, she pretended to call her bestie from school and told her ‘I’ve just been to see a really funny show, you should go, ok? Bye!’ (She’s a random kid!)
Overall, I was left feeling that the play really deserved a larger audience but for those in the audience this morning – we really were given a treat! The cookies handed out before the show also went down nicely with my coffee!
It was therefore an absolute joy to attend Robin Hood, as created by the Manhattan Children’s Theatre. They brought the story of Robin Hood alive in exactly the right way. There was romance, fear, intrigue, and comedy – all delivered at a fast and energy filled pace.
The show followed the familiar plot; the people of Nottingham were living in fear of the sherif who had enforced high taxes and ruled by fear. Robin Hood and his gang of Merry Men are there to stand up for the poor (and are ready to win Maid Marion over to their side!). After a suitable war between the two sides, the good win the day and the Sheriff gets his comeuppance!
As one would expect from musical theatre, the story was delivered through a mixture of music and dialogue. With the pianist doubling up as Friar Tuck, none of the songs felt unnecessary but rather were fundamental to telling the story. It really was easy to follow and equally easy to enjoy.
There was a great balance of laughter at the bad guys antics and Robin Hood larking around with Little John. Although as an adult, the Sherif and his henchman Dewbery were pretty comical, Katie (aged 4) was quite alarmed by him. He apparently was mean and shouldn’t have threatened Robin Hood with the dungeons. Admittedly, this is the kid who won’t watch Disney’s Frozen but I thought it was quite sweet that she really was affronted at his behaviour. Although that said, she had great fun joining in booing him loudly and I thought he played the villain tremendously well.
I was slightly concerned she wouldn’t have followed all the lyrics in the songs but she picked up a remarkable amount. The Sherif of Nottingham also played Little John at one point in the play – who then obviously just vanished once the Sherif appeared again. Katie wanted to know where he had gone and why he wasn’t there to help save Marion. Obviously she didn’t twig the character changes but this was the only point of the play that was really problematic for her!
The talent of the actors was clear as they sang and leapt around the theatre. The energy really was tremendous and things were over before we had barely blinked.
Based in Edinburgh, the Manhattan Children’s Theatre exists to provide affordable, high quality theatre entertainment to audiences in Scotland, children in particular. It was evident from this performance that they are clearly meeting this aim.
There were some spectacularly over-the-top moments, such as Robin Hood in drag dressing up as an old woman in a cloak, only to rip off the cloak to reveal another cloak underneath. These were nicely counterbalanced by more heartwarming moments, such as the homely and welcoming reveal of Sherwood Forest in the clear morning rain. However, sometimes it was not clear whether the chop and changing of tone, from the dark serious atmosphere of the opening to the reveal of Robin in drag, were quite intentional. It was initially tough to tell whether this was going to be a straight faced Robin Hood, or a more self aware play. It does slowly become clear but it sets you off on the wrong foot a bit.
The cast worked well together and were a strong ensemble. David Mahoney’s performance as both Little John and The Sheriff deserves a particular mention. His scheming villain unable to stop Robin or get the girl was great to watch and he was clearly enjoying the creeping villainy.
It is the music that really carries the show though. From the atmospheric opening all the way to the jazzy villain duet the music really helped the show flow. I was humming one the tunes for the rest of the day. They should also be commended for the silly but inventive onstage bow and arrows, created entirely through imagination, a bit of choreography and excellent comic timing.
There are plenty of jokes for kids but also the adults, with a few quiet innuendos slipped in here and there alongside quiet comments about Dewberry the Sheriff’s sidekick fan art of Robin. Robin’s messages of compassion for your enemies and the need to build the world you want to see are clear for the older children, and the singing and stagecraft will hold the attention of the little ones.
I would recommend this piece to any fans of the legends, or those looking for a strong musical aimed at children.
It was therefore an absolute joy to attend Robin Hood, as created by the Manhattan Children’s Theatre. They brought the story of Robin Hood alive in exactly the right way. There was romance, fear, intrigue, and comedy – all delivered at a fast and energy filled pace.
The show followed the familiar plot; the people of Nottingham were living in fear of the sherif who had enforced high taxes and ruled by fear. Robin Hood and his gang of Merry Men are there to stand up for the poor (and are ready to win Maid Marion over to their side!). After a suitable war between the two sides, the good win the day and the Sheriff gets his comeuppance!
As one would expect from musical theatre, the story was delivered through a mixture of music and dialogue. With the pianist doubling up as Friar Tuck, none of the songs felt unnecessary but rather were fundamental to telling the story. It really was easy to follow and equally easy to enjoy.
There was a great balance of laughter at the bad guys antics and Robin Hood larking around with Little John. Although as an adult, the Sherif and his henchman Dewbery were pretty comical, Katie (aged 4) was quite alarmed by him. He apparently was mean and shouldn’t have threatened Robin Hood with the dungeons. Admittedly, this is the kid who won’t watch Disney’s Frozen but I thought it was quite sweet that she really was affronted at his behaviour. Although that said, she had great fun joining in booing him loudly and I thought he played the villain tremendously well.
I was slightly concerned she wouldn’t have followed all the lyrics in the songs but she picked up a remarkable amount. The Sherif of Nottingham also played Little John at one point in the play – who then obviously just vanished once the Sherif appeared again. Katie wanted to know where he had gone and why he wasn’t there to help save Marion. Obviously she didn’t twig the character changes but this was the only point of the play that was really problematic for her!
The talent of the actors was clear as they sang and leapt around the theatre. The energy really was tremendous and things were over before we had barely blinked.
Based in Edinburgh, the Manhattan Children’s Theatre exists to provide affordable, high quality theatre entertainment to audiences in Scotland, children in particular. It was evident from this performance that they are clearly meeting this aim.
In line with a tradition dating back for centuries, every princess is tied to a rock on her 16th birthday so she can be captured by a dragon and then rescued by a prince. However, things change when a brave sword-wielding princess and a pale, bookish prince agree that it is in their best interests that they fight the dragon together. When they eventually track the dragon down, they learn some surprising things, not least that it is now the world’s last living dragon. While this production by the Manhattan Children’s Theatre does justice to Nesbit’s charming story, it also introduces a number of comic additions and revelations that people already familiar with the original can look forward to.
From the king’s absurd obsession with ‘tradition’ and the sword-thrusting days of his youth, to the princess literally sweeping the prince off his feet, The Last of the Dragons does an excellent job at subverting gender stereotypes and exposing them as ridiculous. And it is to the scriptwriter’s credit that these never come across as excessive or contrived.
There are few bad things to be said of this show, aside from the fact that its use of classical music seems slightly anachronistic and out of place. But it is undeniable that The Last of the Dragons is an absolute delight to behold – definitely a must-see at this year’s Fringe.
Instead of the prince rescuing the princess in their funny and energetic new show, she’s the one who comes to his aid. Of course Edith Nesbit, who wrote the original story, was championing strong females back in 1925 – but nothing endures like a stereotype.
Director, Laura Stevens launched her company in New York in 2002, but having moved to Edinburgh last year, she’s now using the brand over here.
A talented all-British cast turn Nesbit’s story (adapted by Kristin Walter) into a veritable romp.
With a nod to Shakespeare and French farce, the show is as much a romance as an adventure story – although never stumbling into the “sloppy” territory.
On the eve of her 16th birthday, the Princess gets ready to meet her betrothed. Before he can marry her, however, the Prince needs to slay a dragon and untie his howling bride-to-be from a rock. Only trouble is, when it comes to sword smithery, she’s Arya Stark from Game of Thrones, and he’s Piglet from Winnie the Pooh.
The Prince’s nervousness is never over-played, however, which is an important point. He has other admirable qualities, proving that empowering the female in a narrative doesn’t mean you have to diminish the male.
In a strong cast, special mention goes to Tom Duncan as the suave Valet, who manages to keep the Prince in check with one hand, and woo the Nurse with the other.
