In the case of a play for children, first the Playwright then the Director has a particularly difficult task to achieve. Each must produce a product that appeals to children in the target range and at the same time has enough in it to satisfy the adults who necessarily accompany them. For the children, they should aim to provide something magical that will make them lifetime theatregoers; the adults should leave feeling the event was worth their time and money. 

Phineas Phrog productions have been offering family entertainment in Auckland for ten years now and have become a slick team. From arrival at the theatre there are activities – face-painting, balloon animals, as well as some appropriate items for sale – that add to the whole theatre experience. By the time the show starts the young audience is well in the mood for more fun. 

Consequently, audience engagement in this show is excellent – at times almost deafening in the participation and response.

On the down side, the publicity gives no mention of a playwright, and to me that’s a big No-No at any time! Furthermore, it wasn’t easy to find that information, even at the venue, given there’s no programme. If I hadn’t begged a spare copy of a cast list I wouldn’t have any idea of who was who. That seems unsatisfactory not only for those interested, but also for the actors and production staff involved – the professionals and the children who make up the chorus. 

The five principals are all excellent in their roles so deserve to be acknowledged. Sarah Somerville as the town crier has the task of soliciting audience response and achieves it admirably. The cast sheet finally reveals that she can also be credited with the adaptation and the direction, so triple commendation goes to her.

Ashton Brown as the Emperor, Keith Adams in several roles but particularly strong as Designer, Claire Dougan as Grovel, and Torum Heng as Trixie Weaver – are all well-rehearsed, confident, and believable. A dragon called Mr Snookums is unidentified though his controller is sometimes glimpsed behind the curtains, and the children are listed by their first names only. 

Two actors take on multiple roles. Co-reviewer Miss 11 is quick to spot this, first picking boots common under three costumes, and is critical of doubling – “It looks as though they can’t be bothered to find more actors.” 

The set, costumes and movement are colourful and deliberate, as suits the convention of dramatised fable. The music, attributed to Hamish Oliver, is good and not overdone by being too long. (More comment could be appropriate here but there’s no explanation of how it should be judged or acknowledged; is it original; who did the arrangements?) 

A plus for children’s theatre is that there’s only one fart joke, though unfortunately repeated and, thank heavens, they avoided stuffing the Queen Mother’s blouse with balloons. 

You can be sure that every child came with the expectation of seeing the Emperor in the nude – that is the story, after all. The only question was how would this be done? Avoiding a spoiler here, the unveiling is a disappointment. Understandable for a family show, perhaps, but there are ways a better effect can be achieved. 

From the adult point of view the Emperor’s conversion from vain egotist to more responsible ruler is rather too sudden and unconvincing, but Miss 11 and Master 9 thought the lesson implied is good so that view over-rules.

Overall, top marks for the company for providing a whole theatre experience that will certainly be remembered by the gratifyingly large audience of children present for the opening performance.

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