Review: Pinocchio – Cumbernauld Theatre – Lanternhouse

Gary McNair’s Pinocchio, Cumbernauld Theatre’s festive offering for 2024 is a seriously good production. Combining a bold premise, lively script, and an excellent, four-strong cast, the show cleverly reimagines Carlo Collodi’s little wooden boy and sets him on a bumpy, comical path to self-discovery. He still wants to be a ‘real boy’ but the magic needed for him and his maker Gepetta (Cole Stewart) to negotiate that change is more personal, and less fairytale.

Gilding this Wintry fable is composer & arranger Brian James O’Sullivan’s superb score, and the impressive vocal abilities of all four actors. Yes, it’s always a pity when a show’s orchestration is recorded, but McNair and O’Sullivan have the makings of a potent partnership. The opening anthem, ‘When You Believe in Magic’ sets a high bar, rising to a triumphant crescendo, far more thrilling than this critic was expecting at 10:30 in the morning during a schools’ performance. Thereafter, the musical bar doesn’t drop, be it Pinocchio’s earworm theme song, or the late-comer Fairy Godmother’s Disney-esque explanation of her empowering brand of magic, ‘That’s the Kind of Magic I Can Do.’

So, whilst the show has one foot firmly set in panto-land, the other is squarely set in the world of high-quality musical theatre. The result is a production sure to get little ones screaming ‘It’s Behind You!’, whilst impressing those a little (or a lottle) older with investable characters and impressive musical drama. Director Laila Noble balances meaning, action, and fun with complete confidence. This is a pacey, slicky orchestrated piece of theatre.

At the centre of everything is Julia Murray’s Pinocchio, thoroughly likeable, impossibly naive and prone to dubious life choices. Equipped with a sweetly powerful voice, wide-eyed charm and comic timing, she’s an ideal casting whether cheerfully attempting to saw her arm off, or when happily duetting on the benefits of friendship with Hingmy Cricket (Stephanie MacGaraidh).

You may have guessed at the show’s tongue-in-cheek relationship with Walt Disney’s from the Cricket’s first-name. The knowing ‘so we don’t get sued’ quips are sprinkled here and there, but not to an annoying degree. The dodge around ‘When You Wish Upon a Star’ is probably the pick of the bunch, and extremely funny at that.

Stewart’s turn as Pinocchio’s guardian/maker/grandparent and carpenter is a fascinating one. In one respect a traditional, if relatively demure panto-dame, Gepetta is also a rounded character with complex motivations and a complete character arc. It’s a tricky balance, but Stewart gets it just right with a combination of sparkling vocals, and wonderfully dry humour.

Helping this fab-foursome to create a world where ‘wooden’ boys go in search of the fabled Antonine Centre after years indoors is Fraser Lappin’s set, dominated by an unfolding wee house cum workshop. There’s no excess of ‘stuff’ on stage otherwise, just a clearly delineated border between inside and outside. When Pinocchio crosses from one to the other, this visual certainly emphasises the sense of transition. Simple but effective is often spoken of, but rarely achieved so well.

Once outside, Pinocchio’s wide-eyed wonder at the world remains intact, much to the delight of unscrupulous double-kidney donors (that’s right both of them), and friendly whales (that’s right, whales). Toss in a few quite surprising action scenes, an original take on audience interaction, and a cameo from Hansel & Gretel, and there’s plenty to keep the audience entertained.

On the other hand, if I have one criticism of Pinocchio, it’s that it backs away from fully developing the tension between Gepetta and Pinocchio before having them reconcile with little difficulty. The promise of a more profound fallout underlying the ‘you can look out of the window as a treat’ comedy of the first act is still oddly gripping. Those who’ve seen the 2020 Movie ‘Run’ will appreciate the similarities – but be assured, things turn out far better, and with significantly less, indeed no, poisoning.

However, a more conflicted hero might have more need of the morally upright Cricket’s counsel, and make better use of MacGaraidh’s time wearing antennae. Fortunately she has plenty (maybe too many) other hats to wear, including Gepetta’s would-be beau George from ASDA – yes, a delivery man, a dolphin, and a dinosaur….oh, and she’s the show’s Musical Director. Her dedication to each role is obvious, as are her talents as both singer and comic character actor.

Completing the line-up is the show’s other dramatic swiss-army knife, Caitlin Forbes, who makes an wonderfully wry, wise-cracking dog, when not waving a wand about or slipping into a tracksuit to swindle an innocent who’s taken all his maker’s money out to buy her a present. It’s a part requiring significant versatility, and Forbes has that in abundance.

At times it’s easy to forget there really are only four performers making the show happen, such is the full-bodied, ambitious drama on offer. Sweet, funny, and absurd, it’s a family show unafraid of heroes with deep emotions and occassionally dubious motivations. This studied imperfection makes them all the more human despite the makeup and costuming.

Frankly, if I lived in Cumbernauld, I’d go and see Pinocchio again. When it’s funny, it’s very funny, and when in full musical sail, you won’t hear anything better, or more original this December. It’s certainly worth making your way to Lanternhouse to catch a performance if you can. With memorable characters on meaningful, entertaining journeys, Pinocchio is the stuff of Christmas theatre magic.

All Images: Mihaela Bodlovic

Pinocchio will play Cumbernauld Theatre at Lanternhouse until the 29th of December 2024. For tickets, and information, click here.