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The Watermill is closed until at least 6th June
The Wicker Husband, 12th March to 4th April
A folk-inspired new musical, The Wicker Husband tells the timeless tale of the outsider. In a superficial world, where beauty is only skin-deep, meet the so-called ‘Ugly Girl’. Ostracised by the shallow townsfolk because she doesn’t fit in, the Ugly Girl becomes the envy of her neighbours when the mysterious Old Basketmaker makes her a strong and loving husband woven from living wicker. As bitter rivalry and jealousy threaten to tear the community apart, the townsfolk embark on a cruel and destructive plan. Will the Ugly Girl’s happiness be ruined forever? A captivating and powerful new musical, The Wicker Husband will have its world premiere at The Watermill. See the reviews below.
Hamlet, 17th April to 23rd May
In a bold, innovative female-led production, The Watermill Ensemble breathe new life into Shakespeare’s timeless tragedy. The King is dead. Absorbed with grief, Hamlet sees a ghostly figure who speaks of treachery and insists upon revenge. Hamlet’s mother Gertrude has hastily remarried, Ophelia is rebelling, and the new king Claudius is controlling proceedings from the shadows. As tensions mount and Hamlet’s personal turmoil increasingly conflicts with public duty, the lines between order and chaos in Elsinore begin to blur. Underscored with live music played by the cast, The Watermill’s resident company apply their daring, collaborative style to Shakespeare’s most enduring play, exploring contemporary themes of identity and authority from multiple points of view.
Camp Albion, 26th May to 6th June
Newbury, 1996. Nine miles of ancient woodland under threat, and the local community bitterly divided over the proposed route of the new bypass. When Cassie returns home for the university holidays, she meets Dylan, a beguiling road protester who draws her into a world of rickety treehouses, lentil stew, druidic rituals and stoic resistance. But her mother has other ideas, and as battle lines are drawn, Cassie must face the personal cost of activism. In a time before smartphones, Twitter, Greta Thunberg and Extinction Rebellion, the ‘Third Battle of Newbury’ was one of the definitive environmental campaigns of the 1990s. A new play with music, Camp Albion explores the heroism, humour and heated debate of this extraordinary moment in the town’s history.
Our Man in Havana, 11th June to 18th July
It’s 1958 and Havana is on the brink of revolution. All day and night, the streets are filled with dancing and the shadows are filled with criminals. In the midst of the warm tropical air, an English vacuum cleaner salesman lives a quiet life running a modest business, raising his teenage daughter Milly and collecting miniature whisky bottles. Just as Milly’s love of shopping reaches new heights, James Wormold receives an offer from the British Secret Intelligence Service that is too good to refuse. What Wormold lacks in sleuthing experience, he makes up for with imagination. Nothing stays quiet for long in Havana and his life is soon turned upside down when the fictional events of his intelligence reports start to come true! A roller coaster comedy full of colourful characters and uplifting Cuban inspired songs, this new musical is based on Graham Greene’s iconic novel that cleverly satirises the fine line between truth and lies.
Reviews of The Wicker Husband
12th March to 4th April 2020
Review from Newbury Theatre.
I was going to start this review by saying that The Wicker Husband is one of the most unusual and interesting plays you will see this year but it looks as though the Watermill will close soon so you may not have the chance. Hopefully it will return later.
The play is about how we deal with outsiders, people who don’t fit in with our social group, and how to be kind to them. The Ugly Girl is an outsider, catching and gutting fish and selling them in the village. The villagers (the cobbler, the tailor, the innkeeper and their wives) despise her because she’s poor, on her own and – in their eyes – ugly. She meets the Old Basketmaker, another outsider who lives in his workshop with his wicker dog, Basket, and she persuades him to make her a wicker husband.
When the Ugly Girl appears with her husband, he has a startling effect on the villagers; first admiration then conflict, leading to her rejection again.
And, and, and… so much to say about the production. First, it’s a musical with a team of actor/musicians as you’d expect at the Watermill but with the instruments played more in the wings and less in-your-face that in other productions. It’s described as a ‘folk-inspired musical’ and the songs are quite folky, with music and clever lyrics by Darren Clark, all sung with great clarity.
Then it’s a puppet show. With the leading man a wicker puppet, manipulated and voiced by two puppeteers, Eilon Morris and Yazdan Qafouri. We’ve seen this before in War Horse, but here he can talk and sing as well as dance. As well as him there’s Basket the dog, very fetchingly manipulated by Scarlet Wilderink, and various other characters including a cat and a king-size lark. The puppets were built in a short timescale, starting six weeks before rehearsals, and the results and the skill of the puppeteers are outstanding.
As Ugly Girl, Laura Johnson sang well and brought pathos to the part. The Old Basketmaker, Julian Forsyth, had a powerful presence and a strong singing voice. The villagers were an unpleasant group, bringing much of the comedy to the play. In particular, Zoë Rainey as the Tailor’s Wife was two-faced and duplicitous and would have got some boos if this were a pantomime.
Anna Kelsey’s set dominated by a huge willow tree went well with the Watermill’s bucolic surroundings.
The Wicker Husband, written by Rhys Jennings, is based on a short story by Ursula Wills-Jones; Jennings and director Charlotte Westenra has been involved with it for most of its nine-year gestation period. The end result is a lively, funny, intriguing production and I hope you have the chance to see it.
Review from The Times.
A fun and bawdy fairytale for adults
A tweak here, a tweak there. Watching the world premiere of Rhys Jennings and Darren Clark’s musical — a fairytale aimed more at adults than children — is a reminder of just how much labour goes into creating a new show. There’s much to enjoy in Charlotte Westenra’s production, and even if all the elements aren’t yet quite in place, we catch a glimpse of something special.
Clark’s music, first of all, is great fun. The story about an Ugly Girl (that’s her name, by the way), who is ostracised by villagers and finds love with a handsome fellow created by a kindly basketmaker, is told through folk songs that are a mix of Bellowhead and Jethro Tull. They reminded me, too, of that long-running off-Broadway institution The Fantasticks. The storyline may seem childlike on the surface, but Clark’s lyrics can be bawdy too. And the combination of Pat Moran’s ultra-compact onstage band and actor-musicians (a Watermill speciality) keeps the arrangements enjoyably loose.
Julian Forsyth, wearing a lush wig that gives him the air of a superannuated Naomi Wolf, brings gravitas and a fine voice to the role of the basketmaker. As the girl, Laura Johnson has a feral edge and vocals that are a distinctive mix of vinegar and sugar. Angela Caesar and Zoë Rainey lead a lively cast of village yokels who are cartoonishly stupid and venal, but not beyond redemption. (I could have done without the unsubtle dig at Brexiteers in the script, however.)
Energetic though they are, the humans are upstaged by Finn Caldwell’s superb puppets. The husband himself is a magical creation. He lives and breathes, and the scene where he is recovering from serious injury is genuinely moving. Comic relief comes from the old man’s impish dog, simply called Basket. Anna Kelsey’s set and Steven Harris’s choreography add atmosphere; so do Ella Wahlstrom’s sound design and Hartley TA Kemp’s lighting.
It’s the book that needs a little more work. Drawing on a short story by Ursula Wills-Jones, it offers unexpectedly daring asides about sexual jealousy, but the plotting is perfunctory at times — the central drama about an abandoned baby doesn’t have the force or clarity it requires. And all the characters would benefit from being drawn with a tad more light and shade if they are to win over adults. That said, if David Walliams’s The Boy in the Dress can end up on the RSC stage, this show — which is more rewarding — could go every bit as far.
Review from the Guardian.
Puppets weave a feisty fable for our times
This folk musical about a lonely fisherwoman looking for love boldly puts a puppet in the role of the leading man
Just after many UK theatres announced indefinite closures on Monday night, Paul Hart, the Watermill’s artistic director, took to the stage to confirm that The Wicker Husband would go ahead as planned. The show-must-go-on moment carried the poignancy and weight of the impending interregnum of darkness.
A folk musical based on a short story by Ursula Wills-Jones but with a feistier ending, The Wicker Husband follows a lonely fisherwoman, derisively named Ugly Girl by villagers and ostracised for being a misfit. She makes friends with a basket-weaver who, like a rustic Dr Frankenstein, has the power to weave beings into creation. He weaves her a wicker husband and this union sparks sexual jealousies and tribal antipathies among the townsfolk.
As a story about insider parochialism, the demonising of outsiders and the tyranny of conformity in village life, it bears echoes of Brexit Britain. But the musical – which has a book by Rhys Jennings – steers away from outright parallels on the whole. It is located in a world of yokel archetypes (characters are simply named Tailor, Cobbler, Old Basketmaker, etc), and has all the fabular edges of a children’s folk tale. “Once upon a withy on the edge of a deep dark swamp,” the cast sings.
The only open reference to today comes towards the end when the town’s evil plan against Ugly Girl (Laura Johnson) is foiled. “You said we’d take back control,” says the Cobbler to the Tailor’s Wife.
There are magical moments in The Wicker Husband yet weaknesses, too: characterisation is so flat that the villagers are dastardly to the point of cartoonishness. There are affecting lyrics but some of the “diddly-di” ditties lack depth, though the Cobbler’s Wife (Angela Caesar) lifts her lines with her bawdy, no-nonsense deliveries.
What brings Charlotte Westenra’s production flaring to life is Darren Clark’s balladic music, strong singing voices and lively musicianship (guitars, violins, a whistle, and live sound effects). Johnson as Ugly Girl brings emotional drama to her songs, from the romantic yearning in My Wicker Man to Have You Seen My Husband when catastrophe strikes her wicker lover.
Other cast members do the same: Julian Forsyth as the Old Basketmaker has an unfortunate comic resemblance to Worzel Gummidge but he sings with plaintive power; and the otherwise conniving Tailor’s Wife (Zoë Rainey) wrings sadness from a song about the loss of her baby.
It is a bold move to cast a puppet in a lead part and the handsome, six-foot “wicker husband” puppet designed by Finn Caldwell is a beguiling presence, with flowers growing from his weave and a childlike gaucheness combined with romantic devotion to Ugly Girl. (Puppeteers Yazdan Qafouri, Eilon Morris and Scarlet Wilderink manipulate him and speak his lines.)
There is a charming menagerie of animals, too, including
scuttling mice, a skylark and a tail-wagging dog, all made of
wicker. It is these puppets that steal the show.
Review from the British Theatre Guide.
Receiving its world première this week, The Watermill Theatre’s magical production of The Wicker Husband is an absolute delight. It’s performed with energy and panache from a wonderfully multi-talented cast of actor-musicians whose enthusiasm is a joy to watch.
It’s an inspiring, uplifting folk musical based on a short story by Ursula Will-Jones where outsiders are ostracised by the villagers and in particular the poor fish seller whom they call the Ugly Girl, an impressive portrayal by Laura Johnson.
She find solace from the willow tree by the river where she confines her innermost thoughts whilst catching and gutting her fish. But her life is to change forever when a wicker dog called Basket steals her catch and she meets the Old Basket Maker, an outstanding, powerful performance by Julian Forsyth, who commands the stage and agrees to weave her a loving wicker husband.
As a life-sized puppet designed and built by Finn Caldwell (War Horse) and skilfully operated by Eilon Morris and Scarlet Wilderick and voiced by Yazdan Qafouri, who sings beautifully, the Wicker Man is meticulously brought to life and the marriage is arranged.
The jealous villagers plan a vicious plot to thwart the love that the Ugly Girl feels for her Wicker Husband with disastrous results.
Zoë Rainey is the elegant Tailor’s Wife who has lost her baby but considers herself to be a class above the villagers, whilst her husband (Jack Beale) is very much under her thumb and longs to escape her dominance.
Angela Caesar is the vivacious Cobbler’s Wife whose assertive husband (Stephen Leask) is determined to create havoc to the couple, as the Innkeeper (Jonathan Charles) and his wife (Claire-Marie Hall) join in the hatred of the Ugly Girl and her new found happiness.
The music and lyrics by Darren Clark conjure up a rich tapestry of ballads and uplifting soaring chorus numbers, all superbly performed by the accomplished cast under the on-stage direction of MD Pat Moran and Jon Whitten.
There is so much to enjoy in this exuberant production from the striking choreography by Steven Harris to the rustic pastoral design by Anna Kelsey with atmospheric lighting by Hartley T A Kemp.
Directed with verve and élan by Charlotte Westenra, this joyous production thoroughly deserved its spontaneous audience standing ovation.
Sadly, the current coronavirus resulting in the closure of theatres has meant that audiences will miss this moving production. Hopefully it will be able to be re-scheduled and it’s not to be missed.
Review from the Newbury Weekly News
Watermill world premiere
A great production forced to close by Covid-19 just six days into run
The Wicker Husband, at The Watermill, Bagnor, on Monday, March 16
Where better to stage the world premiere of a play which takes place in a pretty village with a river and willow trees than The Watermill theatre in Bagnor?
The Wicker Husband, written by Rhys Jennings, with music and lyrics by Darren Clark, is based on a short story by Ursula Wills-Jones and was an evening of pure delight, full of songs, dance, action and emotion.
It is set in a pretty village where everything is pretty – pretty people, buildings, river – all is pretty… except for one person.
The tradesmen of this pretty village and their pretty wives despise the person they call Ugly Girl (an outstandingly enjoyable performance from Laura Johnson), who sells fish for a living. Mocked and treated badly, Ugly Girl’s only friend is the willow tree to whom she confides her wish for a husband.
She visits an old basketmaker (superbly played and sung by Julian Forsyth) and begs him to make her a wicker husband. The scene in his workshop with Basket the wicker dog and the wicker animals he brings to life was fantastic, although it was sometimes difficult to see the action taking place at floor level.
The puppetry and manipulation required to make Wicker Husband believable was something to marvel at. Puppetry designer/director Finn Caldwell, whose long and impressive CV includes his work on War Horse, brought the Wicker Man, and ‘Lady Blackthorn’, who finally vanquishes the vindictive jealous wife of the tailor, to vivid life.
For when Ugly Girl and her Wicker Husband become close, the villagers are jealous and hatch a plot, part of which is to make Ugly Girl believe her husband has been unfaithful. A fire damages Wicker Man and leaves the grieving Ugly Girl in despair as she realises she has been tricked.
The tailor’s wife (a beautifully vicious performance from Zoe Rainey) persuades the basketmaker to make her a wicker baby to back up the lie. When it is finished with, her husband casts it into the river where Ugly Girl finds it and cares for it. Following a wonderfully impassioned song full of fury from the basketmaker singing to the villagers “what have you done with my children?” he creates the Lady Blackthorn puppet to extract revenge.
With the help of withies from the willow tree, Wicker Husband is mended and all ends happily.
This world premiere, directed by Charlotte Westenra, gave the audience an evening in which the entire cast of actors, musicians and puppeteers gave memorable performances.
At the start of the evening, artistic executive and director of The Watermill, Paul Hart, had thanked the cast for their work and the audience for coming to see the result in what are hard times for the theatre industry. It is safe to say that it was a very great pleasure.
There's an interesting article...
... by Tei Williams about the process in staging a Watermill production, from choosing the play through to the opening night. It's here.
Reviews in the Archive
The Prince and the Pauper (November 2019)
A Midsummer Night’s Dream (February 2020)
One Million Tiny Plays About Britain (February 2020)
Assassins (September 2019)
Kiss Me, Kate (July 2019)
Our Church (June 2019)
The Importance of Being Earnest (May 2019)
Amélie (April 2019)
Macbeth (February 2019)
Robin Hood (November 2018)
Murder For Two (January 2019)
Jane Eyre (October 2018)
Trial by Laughter (September 2018)
Sweet Charity (July 2018)
Jerusalem (June 2018)
A Midsummer Night’s Dream (May 2018)
Burke and Hare (April 2018 and on tour)
Digging For Victory Senior Youth Theatre (March 2018)
The Rivals (March 2018)
Teddy (January 2018)
The Borrowers (November 2017)
Under Milk Wood (October 2017)
Loot (September 2017)
The Picture of Dorian Gray (September 2017 and on tour)
A Little Night Music (July 2017)
All at Sea! (July 2017)
The Miller's Child (July 2017)
Nesting (July 2017 and on tour)
House and Garden (May 2017)
See Newbury Dramatic Society for a review of Maskerade (May 2016)
Twelfth Night (April 2017)
Faust x2 (March 2017)
Murder For Two (January 2017)
Sleeping Beauty (November 2016)
Frankenstein (October 2016)
The Wipers Times (September 2016)
Crazy For You (July 2016)
Watership Down (June 2016)
Untold Stories (May 2016)
See Box Theatre Company for a review of The Sea (April 2016)
One Million Tiny Plays About Britain (April 2016 and on tour)
Romeo and Juliet (February 2016)
Tell Me on a Sunday (January 2016)
Alice in Wonderland (November 2015)
Gormenghast (November 2015) - see the Youth page
The Ladykillers (September 2015)
Oliver! (July 2015)
A Little History of the World (July 2015 and on tour)
Between the Lines (July 2015)
The Deep Blue Sea (June 2015)
Far From the Madding Crowd (April 2015)
Tuxedo Junction (March 2015)
The Secret Adversary (February 2015)
Peter Pan (November 2014)
But First This (October 2014)
Twelfth Night (November 2014) - see the Youth page
Journey's End (September 2014)
Calamity Jane (July 2014)
The Boxford Masques - Joe Soap's Masquerade (July 2014)
Hardboiled - the Fall of Sam Shadow (July 2014)
A Bunch of Amateurs (May 2014)
See Box Theatre Company for a review of The Canterbury Tales (May 2014)
Sense and Sensibility (April 2014)
Life Lessons (March 2014)
All My Sons (February 2014)
The Devil and the Deep Blue Sea (January 2014)
Pinocchio (November 2013)
Sherlock's Last Case (September 2013)
Romeo+Juliet (September 2013 and on tour)
The Witches of Eastwick (July 2013)
Laurel & Hardy (June 2013)
The Strange Case of Dr Jekyll and Mr Hyde (May 2013)
The Miser (April 2013)
David Copperfield (March 2013)
Sleuth (February 2013)
Arabian Nights (November 2012)
The Tempest (September 2012)
Thoroughly Modern Millie (August 2012)
Boxford Masques (July 2012)
Ben Hur (June 2012)
Of Mice and Men (May 2012)
Love on the Tracks (April 2012 and on tour)
Henry V and The Winter's Tale (April 2012)
Lettice and Lovage (February 2012)
The Wind in the Willows (November 2011)
Some Like It Hotter (November 2011 and on tour)
Great Expectations (September 2011)
Radio Times (August 2011)
The Marriage of Figaro (July 2011)
Moonlight and Magnolias (May 2011)
Richard III and The Comedy of Errors (April 2011)
The Clodly Light Opera and Drama Society (March 2011)
Relatively Speaking (February 2011)
Treasure Island (November 2010)
Single Spies (September 2010)
Copacabana (July 2010)
Daisy Pulls It Off (June 2010)
Brontë (April 2010)
Raising Voices (March 2010)
Confused Love (March 2010)
Heroes (February 2010)
James and the Giant Peach (November 2009)
Educating Rita (October 2009)
Spend Spend Spend! (July 2009 and September 2010)
Blithe Spirit (May 2009)
Bubbles (April to May and September to October 2009)
A Midsummer Night's Dream and The Merchant of Venice (March 2009)
Life X 3 (January 2009)
Matilda and Duffy's Stupendous Space Adventure (November 2008)
The Sirens' Call (November 2008)
Our Country's Good (September 2008)
See Newbury Dramatic Society for a review of The Recruiting Officer (October 2008)
Sunset Boulevard (July 2008)
Boxford Masques - Knight and Day (July 2008)
Black Comedy and The Bowmans (May 2008)
London Assurance (April 2008)
Micky Salberg's Crystal Ballroom Dance Band (April 2008 and on tour)
Great West Road (March 2008)
Merrily We Roll Along (March 2008)
Honk! (November 2007)
Rope (September 2007)
Martin Guerre (July 2007)
Twelfth Night (June 2007)
The Story of a Great Lady (April and September 2007, and on tour)
The Rise and Fall of Little Voice (April 2007)
For Services Rendered (March 2007)
Plunder (January 2007)
The Snow Queen (November 2006)
Peter Pan in Scarlet (October 2006)
The Taming of the Shrew (September 2006 and on tour in 2007)
Hot Mikado (July 2006 and September 2009)
Boxford Masques: The Crowning of the Year (July 2006)
Hobson's Choice (May 2006)
Twenty Thousand Leagues under the Sea (April 2006)
Tartuffe (February 2006)
The Jungle Book (November 2005)
The Gilded Lilies (October 2005)
Copenhagen (September 2005)
The Garden of Llangoed (September 2005 and September 2006)
Thieves' Carnival (July 2005)
The Shed (July 2005)
Mack and Mabel (May 2005)
The Odyssey (May 2005)
Broken Glass (April 2005)
The Winter's Tale (January 2005)
Arabian Nights (December 2004)
See Newbury Dramatic Society for a review of Whose Life is it Anyway? (November 2004)
Multiplex (November 2004)
Neville's Island (September 2004)
The Comedian (September 2004 and March 2005)
Raising Voices Again (September 2004)
Pinafore Swing (July 2004)
The Venetian Twins (May 2004)
The Gentleman from Olmedo (April 2004)
Mr & Mrs Schultz (March 2004 and on tour)
Sweeney Todd (February 2004)
The Emperor and the Nightingale (November 2003)
See Newbury Dramatic Society for a review of An Ideal Husband (November 2003)
A Star Danced (September 2003)
The Fourth Fold (September 2003)
The Last Days of the Empire (July 2003)
Accelerate (July 2003)
Dreams from a Summer House (May 2003)
The Triumph of Love (April 2003)
Gigolo (March 2003)
Raising Voices (March 2003)
A Midsummer Night's Dream (February 2003)
The Firebird (November 2002)
Ten Cents a Dance (September 2002)
Dancing at Lughnasa (July 2002)
Love in a Maze (June 2002)
Fiddler on the Roof (April 2002)
I Dreamt I Dwelt in Marble Halls (March 2002 and March 2006)
Only a Matter of Time (February 2002)
Cinderella and the Enchanted Slipper (November 2001)
Piaf (October 2001)
The Merchant of Venice (October 2001)
Witch (September 2001)
The Clandestine Marriage (August 2001)
The Importance of Being Earnest (May 2001)
Gondoliers (March 2001)
Rose Rage (February 2001)
Carmen (July 2000)