Review: Michael Morpugo's Pinocchio (Watermill Theatre)

Review by Eavan Prenter

⭐️⭐️⭐️⭐️

Michael Morpurgo has great theatrical form with National Theatre’s smash hit, War Horse based on his 1982 book, and at least twelve of his other novels adapted for the stage. So, it’s no surprise to see a new adaptation of Morpurgo’s version of Pinocchio (By Pinocchio) at the Watermill Theatre providing some good old fashioned family fun.

Telling the familiar story of a puppet boy fashioned from wood by his father Geppetto, this production rattles through Pinocchio’s many adventures at lightning speed, from entanglements with a circus to transfiguration into a donkey via encounters with scheming foxes and infatuation with a fairy, culminating in perhaps his most famous feat - escaping from the belly of a whale and finally finding his way home.

The Watermill Theatre in Newbury is the perfect setting for this beautiful production - with its exposed beams, water gushing through the mill wheel, and wooden balconies blending into Yoav Segal’s rustic set (all tree trunks, natural fibres and autumnal colours), it almost felt like the story was being told even before the play began, drawing the audience in and making clear that this would be more sophisticated than your average family show.

The puppets (designed and made by Marc Parrett) were charming, too. I was particularly fond of the cherry-pip-eating-pig and the New York weasels (an excellent team name if any New York athletes are looking for one), but it’s the whale that stole the show. Glowing from the inside as it moved gracefully through the blue cloth sea, its arrival provided a rare moment of stillness in an otherwise frenetic show.

In fact, the whale and the scene in its stomach were the highlight of the show for me. Having spent so much time with Pinocchio careening from adventure to adventure, the reappearance of his ageing father, played with subtlety and emotional maturity by Christopher Bianchi, provided a powerful reminder of the impact of Pinocchio’s actions on his family.

Unfortunately, this was the only moment where Pinocchio was faced with any real consequences for his actions, and it wasn’t clear that it had any impact on him. Similarly, ten years in jail went by in a flash without making a mark beyond a lack of funds. In the writer’s notes, Simon Reade talks about the original story’s exploration of the selfishness of capitalism and each person’s uniqueness. While Pinocchio does talk about his individuality and there was a stirring chorus of the Italian socialist anthem, Bandiera Rossa, for me the main theme of the play was about allowing children to take risks.

Though its understandable how a writer raised in the 1940s and 50s might view modern parenting as being overly cautious, I still think that there’s space for some consequences, some lessons learned, without taking away from the main message. Children are tougher than we think. One of the great strengths of Roald Dahl’s stories is that he knows that and doesn’t shy away from the ugly side of life or the negative effects of our actions. I would have loved to see Pinocchio actually feel the pain of one of his many hard knocks, learn something from it and still carry on.

Instead, this Pinocchio was too busy moving on to his next adventure to reflect on his last. From the minute the cast arrives on the stage there’s a certain CBBC energy which is pretty infectious. Jerome Yates in the title role never flags and has a particularly mischievous look that seems to be enticing the audience to join in his adventures. His physicality is incredible; he fully embodies the part from learning to walk on his new cherry wood legs to dancing around the stage with his farmer pal.

Special mention also has to go to the Inspector Javert of the production, Jacoba Williams as the Carabiniere, but it’s really an ensemble piece and every cast member shines under Indiana Lown-Collins’ and Elle While’s capable direction. Like any good family film, they play to the grown ups with some witty lines (“two plus two is some amount” being my favourite) and knowing looks (to accompany lines such as “You can’t sell children”) and to the kids with at least two poo jokes and plenty of audience participation.

When I found myself shouting to Judy that Punch was behind her, it suddenly hit me - it's panto season! And while this Pinocchio is not a pantomime, it does have a hero who needs your help; plenty of hijinks and even a fairy. Like a panto, it somewhat skates along the surface of life, ignoring the messy and the difficult, but in such a beautiful and imaginative way that you can’t help but be swept up in the fun. If you’re a grown up who likes their stories with a side of grit, I’d go elsewhere, but if you’re a parent or someone who wants to escape to a world of childlike wonder, then Pinocchio is the show for you.

Pinocchio plays at the Watermill Theatre until 5th January 2025. Tickets from watermill.org.uk

Photos by Mark Senior