A charming and often surprising romp through Victorian London, with just the right amount of mystery solving and jeopardy to make for an enchanting family outing.Rating
Good!
Based on a book by children’s writer Gloria Danili, Mr Moore’s Secret Society is on stage at the intimate black box Bridewell Theatre just off Fleet Street. Danili writes for children aged 4 to 11, although this show is better suited to those at the upper end of that range and above. With voiceovers from Michael Rosen and Linda Bassett, the production uses a few too many devices to tell its story, but the overall effect is nonetheless charming, funny and entertaining.
An opening musical number introduces the cast and encourages audience participation: child actor Sofia Inforzato‘s infectious grin and obvious delight are particularly hard to resist. As the stage clears, a screen at the back sets the scene with some beautiful shadow puppetry and proceeds to announce chapter headings throughout. A grand piano sits centre stage, and we learn that Mr Moore (played superbly by Michael Bertenshaw) is about to be evicted from his house as a pauper. We also meet the pompous and vile Uncle Vernon (Derek Jeck) and his nephew Leopold (Henry Camp), who has been sent to London to be introduced into society. Cue plenty of exaggerated gestures that establish Vernon as a villain of the highest order and Leopold as a kind and caring young man who misses his younger sister.
The production takes the audience through the streets of Victorian London, both its glories and its underworld, with plenty of nods to Dickens and landmarks such as the Old Bailey and the British Library. Think Lewis Carroll with shades of A Christmas Carol, Alice in Wonderland, and the flower sellers in My Fair Lady, with imagery inspired by Punch. Even Queen Victoria makes an appearance, complete with an explanation of how the Victoria sponge got its name. The show’s madcap nature will appeal to the children in the audience.
There are, however, a few issues, all of which come under the banner of “less is more”. The screen is effective for the stylised chapter headings, but the audience does not need video footage to simulate a train journey when the actors are already seated on benches in a carriage. In the same vein, an extraordinary amount of scenery and props are moved on and off throughout, a fully laden dining table being one example. This is a small space, and the story and acting would be enough for the audience to follow the plot without all the accessories. Given the central role the piano plays in the story and its resolution, it could simply stay on stage throughout. The same applies to the plot, whose many threads feel excessive at points, meaning I wasn’t sure I followed them all. The standard of acting is mixed, although caricature is part of the story’s appeal. Alongside Bertenshaw, Elena Mackay is particularly impressive, playing several characters with nuance and style.
Despite these quibbles, Mr Moore’s Secret Society is a warm-hearted and imaginative piece of family theatre. Its affection for Victorian London is infectious, the shadow puppetry is genuinely lovely, and Bertenshaw and Mackay lead a committed cast who enjoy every moment.
Writer: Gloria Danili
Director: Roman Stefanski
Composer: Neil Brand
Producer: Jamie Rycroft
Designer: Jane Linz Roberts
Lighting Design: Aaron Dootson
Sounds and Video Design: Julian Butler
Wardrobe Supervisor: Annie James
Mr Moore’s Bizarre Secret Society plays daytime shows until Saturday 10 October
