Rats' Tales, Royal Exchange, Manchester | Theatre reviews, news & interviews
Rats' Tales, Royal Exchange, Manchester
Carol Ann Duffy's children's stories and other dark fairy tales make festive fare
Having 30 “rats” running around hardly seems the stuff of festive fare, but since the begetter of the show is Carol Ann Duffy, known in her children’s writing for dark fairy tales, we might expect something different. And, after all, these rodents are actually local children dressed as ragamuffins. Rats, it seems, can be cute and not necessarily baddies – and, in any case, the Pied Piper is at hand.
This is the world premiere of an imaginative entertainment concocted by director Melly Still and our Poet Laureate, inspired by the latter’s three stories in The Stolen Childhood, but taking in five more fairy tales from around the world. Anyone who has read the Duffy collection will be prepared for unkind stepfathers and stepmothers, stressful childhoods, young and old people changing personalities, parental bereavement, but generally happy endings.
It involves a versatile and energetic cast of eight, who do all the straightforward storytelling and play all the characters, children and adults – and animals. Melly Still has them performing on a bare stage, with a minimum of props and costumes, in effective well-choreographed workshop style. In short, it’s a production to tease the imagination, the stories illustrated by a sort of play-acting.
It kicks off with a fairly straightforward take on the old Ratcatcher, where the community, led by a duplicitous politician (giving rise to some contemporary digs), rat on the piper (Michael Mears, pictured below), causing him to whisk the children away. The last version of this tale I saw was the nightmarish but spine-tingling take on the story by George Benjamin and Martin Crimp in the acclaimed one-act opera Into the Little Hill. There the Piper rids an ungrateful community of the rats, but takes the children off into a “little hill”.
Naturally, this show, which aims “to get to the heart of childhood to celebrate the spirit of the festive season”, isn’t quite that penetrative, but it does raise the question of who it is meant to entertain. It doesn’t have the overall enchantment of a children’s show. Nor does it have the force of an adult entertainment. So, I’m unsure who it might appeal to. But it has its moments.
The eight stories are played out one after the other, without links (or applause). There is a lot of darkness, such as a scary troll boy who will only eat rats, but the story that has real charm is Duffy’s “A Little Girl”. In moving from childhood to adulthood, a repeated theme, she outgrows the doll’s house that was her home.
The story that brought the house down and drew spontaneous applause was “The Squire’s Bride”, a panto-like sketch featuring a bloated squire (the excellent Dan Milne), who is duped into facing a horse for a bride rather than the local beauty he expected. Emily Wachter and Meline Danielewicz bring the house down as the capering horse – without the usual panto-horse dressing.
The Royal Exchange is renowned for providing alternative Christmas fare, whilst all around do the pantos (Peter Pan the favourite this year), usually some sumptuously dressed period piece or a Marx Bros-style zany comedy, so this is quite a departure. But the theatre has a close relationship with the Poet Laureate, who lives in Manchester. Indeed, running alongside Rats’ Tales in the main theatre will be Duffy’s The Tear Thief in the studio, a puppet show for younger children in which the thief steals the tears from children who cry between supper and bedtime. That’s Duffy for you.
Subscribe to theartsdesk.com
Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 7,000 pieces, we're asking for £2.95 per month or £25 per year. We feel it's a very good deal, and hope you do too.
To take an annual subscription now simply click here.
And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?
A new approach to immersive theatre aims to deliver more interactive thrills at Aynhoe Park
Imelda Staunton stars in American import about class which is both funny and moving
Emil and the Mormons: a bit of everything in theartsdesk's tips
Our mobile phone culture is put to the test of participatory theatre
The actor turned Sheffield artistic director who has taken The Full Monty to the West End
Peter Gill’s new play about the end of the First World War is a long, hard slog
Period silliness proves fun - up to a point
New musical about the woman who created the London map is full of promise
Comedy that bares its soul, among other things
How do you solve a problem like Orlando? Virginia Woolf's love letter cheerfully adapted
Stage version lacks the emotional punch of Mark Herman's film
'August: Osage County' writer returns with story of life in a besieged Chicago eatery