The Wind in the Willows

Why, I hear you ask, would a new Australian theatre company present this classic children’s story at this adult venue at 7.30 p.m. the week before Christmas? And there’re no Aussie accents to be heard in this perfect adaptation of Kenneth Grahame’s 1908 story, beautifully done by Alan Bennett for Britain’s National Theatre in 1990.

This is Stacks On’s 6th show since their debut in 2022 and, under co-founder Lachlan Stevenson, they have certainly hit the spot here. Nine players face the 64-seat audience on two sides and, softened by Beatles music, they create the idyllic streams and wild woods of the English countryside.

On a blank stage the story emerges gradually, until the whole Grahame/Bennett tale is unravelled. First Mole (Elyse Phelan, at her enquiring best), and then Rat (James Raggatt, also the director) come from their holes and converse with great good manners. 

This excellent opening scene is soon spoilt by the arrival of cheeky Toad (Michael Doris), the owner of Toad Hall, the local grand house. With his frog-like gloves and just a whisk of eye makeup, he dominates the group with his instant appetites.

Unable to concentrate on one thing for more than a day, Toad’s interest jumps from horses to cars. His appetite for new things, bigger things, better things is always on show. ‘You can’t frog-march me, I’m a toad!’, he yells.

The main cast is completed by Badger (Stack On’s founder Lachlan Stevenson), the oldest and wisest of the group. He allows others to lead but, behind the scenes, it all goes his way. 

Other roles, all animals except for a hard-working washerwoman, are taken by the cast. Albert, the long-suffering draft horse (Ross Walker) is particularly memorable.

Great lighting by Saint Clair is all the group needs to make this space work, with a minimum of excellent props required to move the action from rowing a boat to driving a car.

Frank Hatherley