Riddlestick Theatre present a delightfully folk-filled piece of musical storytelling in this masterful west-country romp.
This is the fifth production by Bristol-based Riddlestick Theatre, a company who, in their ten years together, have dazzled audiences up and down the country with weird and wonderful shows, revitalising folk stories in fun and accessible ways. Barleycorn is no exception to this; a highly imaginative work that both laughs at and celebrates some of Britain’s wackiest folk customs.
Set in the quaint village of Hopley Drew, we meet the local troupe of players, pithily called ‘The Hopley Drew Morris Mummers Men & Women Too’, putting together what might be their last ever harvest festival, as beloved pub, The Barleycorn, is soon to be closed down. As the show goes on, a storm rages outside, and as tales from long ago take form, strange things start to happen at The Barleycorn.
The piece is beautifully crafted, and the company have done an excellent job of treading the line between frivolous comedy and engaging storytelling. There are one-liners and witty remarks to spare, but the writers Kate Stokes and Thomas Manson have also ensured that a clear (although at times bonkers) narrative is spun. The harvest festival mechanic successfully engages the audience, and there is a great deal of participation (the nice kind) in the festival/fete style; think raffles, prizes etc. The writing is sharp and whimsical, with characters often speaking in verse. To a non-Brit, references to Grand Designs and Jammy Dodgers might fall on deaf ears, but there are enough visual gags here to suit everyone.
A truly ensemble piece, the all-singing, all-dancing cast bring an energy and warmth that is contagious. Ashley Scott as Georgie, with his childlike enthusiasm and knack for martial arts, is an electric presence on stage. Writer Kate Stokes who plays Gracie-May is fiery and bright. Meanwhile, Alison Cowling plays alien conspiracy believer Willow, John Barleycorn, and the accordion, with great conviction. Elsewhere, George Meredith shines as the only member not from the village, Irn-Bru Stu… any guesses?
The storytelling is dynamic and inventive, and props are used to great effect; whether it be the use of blue roll for a river or a skateboard for a rowing boat, the DIY aspect is charming and resourceful. The costuming is similarly creative, with the group in matching white, but with folky detailing that leans slightly to the Midsommar/ Wicker Man aesthetic. Subtle costume changes are pitched well and effective, and, again, the DIY approach is performed to great success.
The music is brilliantly interweaved with the storytelling, and a variety of instruments are used throughout to create a rich and dynamic musical canvas on which to play out these interludes. Thomas Manson, who is outstanding as Reverend Rob, also provides most of the musical accompaniment with his skilful guitar playing, and together with Sophie Jackson (Mags) on the cello, the musical landscape comes to life. The original songs are creative and nuanced, with comedic inflections laced within, (there is a particular ditty about a turnip field that is sure to be a highlight). With tempos and keys changing constantly, the narrative is propelled on like a rocket.
In fact the whole piece moves along at a fair old pace; however, it never feels rushed, and the show benefits from a runtime slightly longer than the usual hour fringe slot, as there is a lot of story to get through here. On paper, an ambitious project with so many moving parts such as this might be doomed to clunkiness, but Riddlestick Theatre have produced something both chaotic and decisive, a show that looks thrown together but has clearly been intricately thought through with care and precision. Or, as they say in Hopley Drew, oo arr it’s proper gurt lush…
Barleycorn is playing from 24-26 August at The Courtyard Theatre, as part of the Camden Fringe Festival