Review: Rapunzel, Half Moon Theatre

There is something undeniably joyful about Wrongsemble‘s Rapunzel, an adaptation of Bethan Woollvin‘s book. Packed with live music and colourful design, the production wears its heart firmly on its sleeve. It offers British Sign Language woven naturally throughout and an infectious Americana-inspired soundtrack that shifts from blues to a hilarious woodland hoedown – even a touch of Taylor Swift-style reflection. At its core sits an important message about female empowerment and taking control of your own destiny. It then seems a shame when the production tries to do far too much.

We first meet two convict witches, complete with mugshot-style identification boards, who set about retelling Rapunzel’s story. Locked away in her tower, her magical golden hair is harvested daily by a wicked witch, until Rapunzel decides enough is enough and eventually transforms into a hooded, masked witch-hunter of sorts. It’s certainly an original take on the familiar fairy tale, and there is definitely no shortage of energy. The two performers constantly switch characters, accents, songs and timeframes while making excellent use of a bright, attractive set and are dressed in some beautifully crafted costumes. Their commitment never wavers, but they are hampered by a script that desperately needs pruning, as it quickly becomes overcomplicated. More than once, children in the audience voiced exactly what many adults were probably thinking: “What’s going on?”

Aimed at children aged 3+, the writing often feels as though it is reaching for an older audience. Contemporary cultural references, philosophical quotations, knowing wordplay and overly complex language muddy what should be a simple, empowering story. The songs, although beautifully composed and confidently performed, also compound the problem. Rather than clarifying character or driving the narrative forward, many take the audience down entertaining but unnecessary linguistic detours.

The production’s strongest moments come when it trusts its theatrical instincts rather than its script. There is some delightful physical comedy, clever prop manipulation and inventive visual storytelling. A lovely sequence in which the prince is conjured to sleep from nothing more than a hat reversal and a comb moustache is genuinely inventive, while other comic moments – including a witch falling from the tower – are handled with real skill.

Audience participation, however, feels much less assured. Children are frequently invited to contribute, but their ideas are rarely acknowledged or developed, making the interaction feel closer to pantomime than genuine collaboration. As a result, important moments – particularly Rapunzel finally taking hold of the scissors, a powerful metaphor for reclaiming agency – become lost amid unfocused audience chaos. Too often, the comedy falls back on burps, farts and exaggerated clowning when the story itself offers far richer material. This is frustrating, as the production hints at a genuinely fresh feminist reimagining of the classic fairy tale, asking who holds power and who gets to shape their own future. Yet those ideas never quite emerge because the storytelling remains cluttered with too many competing ideas.

There’s lots of potential here to enrich the core empowering adventure, which could easily be attained with a sharper dramaturgical focus and greater confidence in the strength of its central story. As it stands, there is still plenty to enjoy. It’s witty, the music is catchy, the design colourful, the performances full of commitment, and the integration of access, including BSL, is warmly embedded rather than feeling tokenistic.

Adapted from the book, Rapunzel, by Bethan Woollvin
Director/Writer: Elvi Piper
Co-Director/Choreography: Richard Priestley
Designer: Antony Jones
Composers/Musical Directors: Bay Bryan & Claire O’Connor
Lighting Designer: Beth Baines
Stage Manager: Tom Blakemore

Rapunzel has completed its short run at the Half Moon. The tour continues across the UK until Sunday 30 August.