Review: WHISTLE DOWN THE WIND, The Watermill Theatre

The Good Lord himself would need pretty good TikTok skills if he hoped to cut through the noise today. And even if he did hit the coveted one million followers mark on there or the 'Gram, he'd be 'out-liked' by a talking dog or dancing baby long before his teachings made it round the cyber block.

But back in 1959 Louisiana, deep in Bible Belt country, things would have been different. And it's there that life in Andrew Lloyd Webber and Jim Steinman's Whistle Down the Wind begins, as a group of local kids become desperate to believe that the man they find in their barn is none other Jesus Christ on his second coming. Amid grief, poverty and endless disappointment, he is the hope they need, and they are willing to believe anything to keep that hope alive.

Webber and Steinman's 1996 musical - with its book by Patricia Knop and Gale Edwards - was based on the popular 1961 film of the same name, and an even earlier novel by Mary Hayley Bell (mum to child star Hayley Mills). The core tale hasn't changed much since then, as the contrary worlds of adults and children collide on a passage of good vs evil.

The story centres around The Man (stunningly sung by Robert Tripolino, but perhaps slightly overacted at the start) - a wounded convict on the run. He meets young Swallow (played exceptionally by Lydia White) in the wake of her mother's death and right when she needs a reason to keep living. Together with Swallow's little sister Brat and brother Poor Baby (played by stars-in-the-making Isabelle Carroll and Huey Lockwood on the night I watched) the young build an army of hope against the adults' determination to destruct. But who's in the right?

Now there's a reason that, despite best efforts, Whistle Down the Wind didn't become another Jesus Christ Superstar or Joseph and the Technicolour Dreamcoat for Webber; the story just isn't brilliant enough. But some of the songs - among them goth/rock classics including "The Vaults of Heaven", "No Matter What" and "Wrestle with the Devil" - are entrancing, and this is a show that's all about the performances.

Director and choreographer Tom Jackson Greaves has certainly left no stone unturned when it comes to injecting energy and alternatives into the piece. Contemporary movement becomes as much a part of the action as the speech and song, and his decision to give life to Swallow's Mother (danced skilfully by Stephanie Elstob) is powerful.

Overall I loved this revival, and it slots neatly into the Watermill's strong season. The theatre certainly has an unparalleled knack for intricately jigsawing the most complex of concoctions together in the tiniest of spaces - from the actor-musos with their many instruments to the layered sets that become a character of their own. This medley doesn't disappoint, and Simon Kenny's set (effectively lit by Andrew Exeter) provides a Pandora's box of visuals that keeps evolving until the very last moment.

And there are many other high points to look forward to - from Chrissie Bhima's powerful interpretation of left-behind love interest Candy to the children's buoyant rendition of "When Children Rule the World", not to mention Stuart Morley's musical arrangements and George Francis' musical direction. But nothing quite beats White's final performance of "Whistle Down the Wind", which - along with her piano playing - is absolutely captivating.

So, this is a case of the story being fine but the performances being brilliant - and the performances win out for me.

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