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REVIEW: The Wind in the Willows

The story and characters are familiar; for many, The Wind in the Willows is a favourite whether you are a fan of the book or the countless adaptations. New audiences can expect a warm tale of friendship set in the idyllic countryside of Edwardian England. This newest adaptation hits the West End at the London Palladium and stars Rufus Hound.


Much has been made of this new adaptation of Kenneth Grahame’s classic novel The Wind in the Willows. With music by Stiles and Drewe and a book by Julian Fellowes, surely this is set to be a big hit. After all, Fellowes now has three West End musicals running (School of Rock and Half a Sixpence) and Stiles and Drewe have a back catalogue of hits including Soho Cinders, Mary Poppins and Half a Sixpence (with Fellowes) currently running at the Noel Coward Theatre

Into this peace and tranquillity comes the boundless Mr Toad and antagonism from the Wild Wooders, eager to displace Toad from Toad Hall. The plot of this new musical revolves around Toad and his love of speed, starting with a boat, then a caravan and ultimately his infamous obsession with the motorcar. After stealing a car, Toad finds himself sentenced to 20 years in prison giving the weasels and stoats the chance to move into Toad Hall, steal an otter and fatten her up ready for a banquet. 

The pace and action of the show are well reflected in the musical numbers. Spring is a gentle, meandering affair whereas The Amazing Mr Toad is loud, bright, colourful and fast – perfectly matching the character and energy of the eponymous Toad. 

Other musical treats come from The Hedgehog’s Nightmare a delightful, quirky number that sees a family of hedgehogs try to cross the road. Their costumes, designed by Peter McKintosh, are characterful and fun with a nod to the eccentricity of the English countryside that pervades the show and source material. In Act Two a chorus of field mice sing The Wassailing Mice, a homage to carol singers, evoking the cosiness and warmth created on those long winter nights. 

The show’s main theme, friendship, is perfectly summed up in the rousing A Friend is Still a Friend by the stoical Badger, Rat and Mole. It is that message that is key. Even though a friend may have acted foolishly, they are still a friend and reconciliation is possible – a pertinent message. 

Rufus Hound excels as the irrepressible Mr Toad, energetically bounding around the stage displaying Toad’s zest for life. Hound provides his scenes with pace and energy and a sense of childlike fun. As an audience, because Hound (and Toad) are having fun, so are we. His enthusiasm and curiosity are infectious, wanting to try new experiences and make the most of life. 

Simon Lipkin and Craig Mather as Rat and Mole respectively, are well cast and balanced. The unworldly timidness of Mole provides a perfect companion for the river and picnic loving Rat, keen to share the beauty and wonder of his home life. 

A new addition to this adaptation is the rather shoehorned-in female lead, Mrs Otter. Played by Denise Welch, the character feels underdeveloped in terms of her relationship with the four leads and it feels like her role is somewhat nominal in the male-dominated story.

The show is vibrant, fun and contains elements of spectacle as well as some good music that will be sure to have an impression on younger generations. Children making their first visit will remember this show as being bright and bold, the joyousness of the vaudevillian Mr Toad and the possibilities of what can be put on stage. It falls into the same bracket as a Christmas pantomime in that three generations can enjoy a shared experience. It’s true it doesn’t contain complex moral themes such as Macbeth or the metaphysics of a Stoppard, but then it never pretends to. Audiences will vote with their feet and I believe this show will be a family favourite. What do we say to the critics? Poop poop!

Book your tickets now before the closing of the run on 2 September 2017!

Harrison Fuller

Theatre manager, writer, maker.

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