When London was plunged into the tier three of the coronavirus restrictions on December the 16th, causing a complete shutdown of the theatre industry, the Rose Theatre’s winter run of ‘Stickman’ was unable to proceed as usual. However, the production was recorded one last time this year before restrictions came into force, and the link was distributed, allowing the show to go on.
‘Stickman’ is the uplifting story of a living stick who is thrust into a series of misadventures and misunderstandings, while trying to return home to his ‘family-tree’ in time for Christmas, and be reunited with his children and his ‘lady love’. Stickman first encounters an impish dog who wants to play fetch with him, and is later tossed into a river, swept out to sea, and nearly burnt in a fire, among other things. Stickman encounters moments of extreme hardship, where he is left weary and downtrodden, but this is countered by a story of courage and family. In a Christmas twist, Stickman saves Father Christmas, who is lodged in a chimney, and helps him deliver toys to children. With determination, courage, and a little Christmas spirit, Stickman returns to the sycamore tree and is reunited with his children and his ‘lady love’. Hilarious and heartwarming, ‘Stickman’ is an uplifting Christmas story, well adapted for the stage by Freckle Productions.
This is a hugely imaginative production, directed by Mark Kane, and with original direction from Sally Cookson, that has been adapted from the book by former children’s Laureate Julia Donaldson. ‘Stickman’ is expertly performed by a cast of only three, with Jamie Coles skillfully portraying the eponymous Stickman. Georgina Duncan and Euan Wilson’s main roles are Stickman's ‘lady love’ and the actor/musician of the performance respectively, but they also acted in a whole host of other roles. Indeed, it is this very multi-roling, along with an adequate amount of audience interaction that makes the performance so entertaining for a younger audience. As one audience member, Ajith Dharwar remarked, ‘Although the production is targeted at a younger audience, the use of clever quips and word-play also allowed an older audience to enjoy it.’.
With a relatively minimalistic set, the use of song, dance and instruments were essential to this musically eclectic performance, relying cardinally on the talents of the actors, rather than excessive set or lighting. The tone of Stickman’s adventures were often set by the musical talents of Euan Wilson, who played an immense variety of instruments, ranging from saxophone to ukulele. The cohesive and collaborative nature of the cast was evident through the energetic and well-executed songs and dances. Stickman’s desperate plea, ‘I’m Stickman, I’m Stickman, ‘I’m Stickman, that’s me’ that is repeated through his many near-fatal misunderstandings was particularly effective and left a particularly lasting impression.
Perhaps one difficulty with virtual theatre is that the camera tells the audience where to look, rather than allowing them to focus on the element that they want to. However, this did not limit the quality of the production and is inevitable when a stage show takes a recorded form. Particularly with the limited time the cast and crew had to prepare the recording, the result is admirable.
