Regent’s Park Open Air Theatre, London – until 20 July 2024
Reviewed by Emily Smith
4****
The third production of the Regent’s Park Open Air Theatre 2024 summer season is The Secret Garden, adapted by Holly Robinson and Anna Himali Howard from the book by Frances Hodgson Burnett. I don’t think a better setting could be chosen for this production than the beautiful outdoor theatre set within London’s Regent’s Park, nestled within the trees and made even more special by the twinkling fairy lights.
The entire cast were phenomenal; most were on-stage throughout as narrators of the story, as well as performing defined roles. The switch between one person speaking, to multiple people in unison, gave emphasis to different parts of the story and helped powerfully deliver poignant lines. The second half of the play brought more humour than the first which added some light relief for the audience and helped us bond with the characters even more.
Sharan Phull’s performance as the Robin was captivating; she was wide-eyed and enchanting throughout with clever movement both in her hand gestures as the Robin, and in her movement around the stage with an Indian flair. Hannah Khalique-Brown’s portrayal of Mary Lennox allowed the audience to go on a journey of self-discovery with her, through the friendships she forms with Dickon (Brydie Service), Martha (Molly Hewitt-Richards) and Colin (Theo Angel), with the audience becoming increasingly invested as the show progresses. The entire cast put on a stellar performance, with clear delivery of their lines, humour where appropriate, and charm all round.
The casting (by Polly Jerrold) was also very authentic yet not entirely traditional. For example, Theo Angel is a non-binary Indian and Irish actor who uses an ambulatory wheelchair – seemingly perfect casting for the character of Colin – and Brydie Service is a disabled actor from Lancashire, who played the male role of Dickon, who uses a stick for mobility. In this production, these two male characters even share a romance – a deviation from the original – yet it did not feel out of place. While the use of adult actors to portray children is not without challenge, the authenticity felt through the brattish and childlike behaviour was believable.
Leslie Travers’s set is simple, yet clever, and while the cast begin near the front of the stage, the wall then recedes to the back of the stage, making way for the various props that are used. The lighting design by Jai Morjaria was incredible; it brought distinct atmospheric shifts throughout the production, made even more magical by the dusk setting. There was charming music playing throughout (by Ford Collier and Kate Griffin), which really brought the Indian roots of the story to the forefront of the production through Tingying Dong’s sound design.
The use of inanimate objects as animals via clever puppetry was also notable, and the authentic noises that accompanied their portrayal were incredible – notably Amanda Hadingue’s (Mrs Medlock’s) crow! Laura Cubitt (puppetry consultant) did a fantastic job bringing these creatures to life.
As an open air theatre, of course the production is subject to the elements. We were incredibly lucky to be there on one of the hottest days of the year, just after the sun had disappeared behind the trees, making it an ideal temperature to be sat outside to watch the show. Flocks of birds passed overhead and a few pigeons made swoops for the audience in the higher seats but all-in-all the outdoor environment suited the production.
There were some minor microphone issues and a small malfunction with a wheelchair. In addition, the use of ribbons, paper garlands and paper fans for the garden, while bright and colourful, was not as effective as perhaps it could have been given the garden is such a focus of the show. Though some may call this a clever use of materials that require minimal upkeep, for me it could have been more magical and more visually representative of flowers and plants. There were also many doors brought on stage throughout, but none were ever opened or stepped through, seemingly only there for visual effect.
The theatre can be found within Regent’s Park in London, a 10–15 minute walk from Baker Street station. This walk is straightforward if you follow the directions provided on the website, though some may find this a little harder to find than the traditional West End theatres! The walk back in the evening, in the dark, is a little more challenging with some uneven pavements which may be worth noting for those less mobile. The doors open 90 minutes before the show begins and there are some nice seating areas (tables with benches and a lawn) for anyone wanting to grab some food or drinks in the beautiful setting beforehand.
This charming production of a well-loved classic story is performed in a beautiful setting, with an incredibly talented cast, and is not one to be missed this summer!