Streaming in to the Theatre Royal for this creation of one of the most popular of all magical stories, are children of all ages from 2 to 92.  Many are dressed for the occasion in sparkling dresses or black flowing robes, and witches hats are prominent.  The auditorium buzzes with excitement.

Director /designer Simon Coleman’s subtle set impresses with its purple /blue night sky backdrop, complete with moving stars, then a rising moon. The expanding tree-house is clever, as is the effective way turquoise blue material combines with light transforming it into a beautiful river of rippling water. 

At the back of the moon and up the mountain on the way to the witch’s castle, the use of models on sticks cleverly augments the human and under-a-spell characters.  Dressed in black body suits, the crew swiftly and quietly make the scene changes; enveloped in a huge black tent they provide the foundation for witch Lisa Chappell’s big number, as she sings “I’m the wickedest witch in the world” while riding on her broomstick high above the stage. Sensational.

Chappell is a less-than-terrifying witch – just as well as the children love her, especially as they are assured she only wants boys and girls, not in the audience, for her sausages and boy/girl soup.  Throughout she is nimble, dances neatly and seems easy in the role. 

If there is a criticism it would be that her singing voice is a little thin, especially when compared with some of the other cast members, notably the fabulous Byron Coll, who dominates the stage in each of his manifestations as Mudwiggle, Binklebonk and most wonderfully, Jim the bald eagle. 

Coll has the ability to both delight the children and entertain us adults with his double-entendres and camp asides.  He is a star. As Mudwiggle, the strongest worm in the world, his patter song selling the benefits of mud – “gluten free, dairy free, mud for Africa”, even throwing in a free set of steak knives – is tremendous.

Eve Gordon, who used to be a banana, gives a neat and athletic performance as Dinglemouse. Troy Tu’ua, as the less-than-Mensa-endowed aptly named Dulboot the giant, is an excellent foil for Badjelly. And Johnson Raela and Nicole Thomson, as the children Tim and Rose, play their roles suitably straight.

The costumes are colourful and the stage business is often witty.  Lucy the cow, dressed in a pink gingham skirt, carries all before her in the shape of enormous udders. Jim, the bald eagle is splendid in yellow sparkles and gold and has huge wings of white and brown feathers.  On comes a wind-machine to help him fly – “at last, a fan!” says Jim. 

Special mention for the Dancing Trousers and Silly Sausage the grasshopper that makes noises like a dog and crows like a rooster.  It is wonderful stuff. 

Top marks to the Auckland Theatre Company for this production. They deserve their full houses with reasonably priced tickets, little more than the cost of the cinema. 

Once upon a time, actually today (Saturday) in Nelson, Badjelly and her cronies cast a spell that enchants us and of course, it all ends happily ever after, disgorging a full house of delighted theatre-goers in to the afternoon sun.

Copyright © in the review belongs to the reviewer

There is no story quite like Badjelly The Witch: that nemesis of children everywhere; that evil, bag-carrying, stick-flying, screecher of doom. Most weekends I listened to this story on the Radio NZ morning Story Time programme as a kid, and I heard something new in it every time.

In my mind Spike Milligan is a genius who created a classic that, as Colin McColl points out in the programme notes, was ‘a precursor to Roald Dahl’s tales’. I could listen to this story many times and still laugh at its absurdity conjured up with a vocal inflection: “Oooooh yes I caaaaaaan!” Stinky, pooh-bum, chicken-pecking, bare-bottom jokes are still the go.

As we walk into Takapuna’s Bruce Mason Centre you can feel the anticipation of how this timeless story will be told. Part fairy tale, part Spike Milligan genius, it’s a clever way to bring all ages together over the shared fascination of facing the most feared and knowing that good will prevail. A full house is here to see this updated version adapted by Alannah O’Sullivan. Some kids are dressed in costumes and ATC embraces that with prizes for the best attired.  

This is a cracking good production that entertains adults and children alike. My 9 year old twin daughters loved its sound effects, musicality, and the puppet/ height work that resolves the flying and mountain challenges. Alternate ways of telling the story – puppets, song, light – spark their imaginations in ways that I imagine Spike Milligan’s kids were lit up when they first heard this. You won’t be disappointed with its witty asides and kidult appeal. 

Lisa Chappell as Badjelly and Troy Tu’ua as Dulboot are a good team. Chappell’s singing chops are strong; she embraces this with delight. A cast of seven pepper the play with acrobatic work (Eve Gordon) and unpretentious puppet work.

Special mention must go to Byron Coll, whose different characters are hilarious. Mudwiggle is a macho take on the worm who eats mud, but Jim the Eagle steals the final part of the play. This is Jim On Steroids with a touch of Glam Rock. Very funny. It will be satisfying to see how far this character can take his ‘reality’ over the run of the season. 

Lighting deserves attention here, too. Ben Hambling has created a panacea for the ever-changing settings in the tale. There are some slightly clunky set changes that will be ironed out (I’m not sure all those set pieces are needed) but Hambling’s ever-changing lightscape is a clever device to keep the imagination engaged. Lights are even used in spells. Magic!

As director, Simon Coleman has created a midwinter antidote to the school holidays. ATC have a strong show on their hands here and are off to tour the country with it. It has mass appeal while being professionally constructed. A magical Friday night treat and well worth checking out and at just over an hour long, it’s still the perfect bedtime story. 

Copyright © in the review belongs to the reviewer