CROWSTARVER

Theatre Alibi,
The Dukes, Lancaster
12 May 2006

The Crowstarver, written by Dick King-Smith for older children, is a story of innocence, transitory happiness and appreciation of the here-and-now set against a backdrop of complexities and the darker side of life (World War 2, in part). It is also about the specialness of individuals, some people’s fear of others’ difference, and the cruelty that such fear can prompt in those people.

Theatre Alibi addresses all these themes admirably and uncompromisingly. In their production of Daniel Jamieson’s adaptation of the book, the ‘crowstarver’ is a boy who does not go to school, but who has a real affinity with animals (and they with him), and whose job on the farm is to scare away the crows so that they will not eat the wheat which is in such great demand during the wartime years.

The production is aimed at ‘8-13 year olds and their families. My seven-year-old companion enjoyed the play and maintained her interest throughout, recognising that Spider has ‘special needs’, and appreciating his specialness. I would not however recommend the play for all seven-year-olds (or indeed all those who are older). A certain level of maturity is needed to appreciate the sensitivity and the darkness of the story. Children are in no way patronised here.

The five actors easily convince us there are more than five characters, so swiftly and smoothly do they change role. There are fine performances by Chris Bianchi (Tom), Jordan Whyte (Kathie), Tom Wainwright (their adopted son Spider), Derek Frood (the farm foreman Percy), and Cerianne Roberts (the farm owner and hunter Mrs Yorke), though the moving scene in which Jordan Whyte finds Spider after he has been chased, tormented and abused by ‘bad boys’ is particularly memorable. The hostility and actions of those ‘bad boys’ are poignant and disturbing. Parallels are drawn with fox hunting – and a hunt later in the play is subverted through the hounds replacing their bloodlust for the fox with affection for Spider.

The Crowstarver does not shy away from complexities: Spider loves his dog Sis and feels hugely privileged with an encounter with a hare, but then has to deal with the fact that Sis not only kills the hare but expects Spider to appreciate this. Spider’s parents ask themselves what will happen to him when he no longer has them to look after him (in one sense paralleling Of Mice and Men).

An extra challenge for the actors is to convey animal as well as human characters. This works well on the level of animal voices; my companion particularly enjoyed Derek Frood’s barking. It also works well when the focus is on an animal alone (the family dogs, the rodeo horse). However, in instances of human-animal contact – for example, when Tom and Kathie’s son Spider is stroking the horse’s head or rubbing his dog Sis’s tummy – the effect is somewhat odd. The actors also have to operate the lamb, hare and fox puppets, which are not only beautifully-made, but made to move both realistically and delicately, and operate them with sensitivity and skill.

The dialogue is complemented by music from Ruby Aspinall (piano) and violin (Ros Stephen/Thomas Johnson). This is effective and adds to the mood, especially to the darker scenes, but occasionally renders the actors’ words difficult to hear.

The Crowstarver is at the Dukes until Saturday May 13: Friday at 10 am and 1.30 pm and Saturday at 2 pm and 7 pm.

Jane Sunderland with Caitlin Rigney
12/5/06

LINKS

Theatre Alibi Website

Dick King-Smith website (including an interview with the author)

Jane Sunderland with Caitlin Rigney