Review: THE TIN DRUM, Bristol Old Vic

Kneehigh's latest show The Tin Drum defies categorisation. Part love story, part political thriller. Part play, part musical. Part real, part surreal. It is therefore like most Kneehigh work: anarchic. And I think director Mike Shepherd and writer Carl Grose would consider that a job well done. As Grose writes in one memorable song "viva la complexity".

Taking this sprawling 1959 novel by Günter Grass and putting it on stage has taken no small amount of hacking and cutting by Grose. The result is a richly drawn tapestry that is a joy to watch even if sometimes the main thread of the story becomes a little muddied.

Set on the eve of World War Two in Danzig, The Tin Drum tells the story of Oskar - a boy who, frightened by his mundane future, decides to march to the beat of his own drum. Blessed with a scream that can shatter windows, Oskar (portrayed by a suitably demonic looking puppet made by Sarah Wright) has the ability to make people listen by banging his drum.

This adaptation wisely sidesteps too many obvious comparisons between 1930s Germany and modern day with it's questions of ethnicity, belonging and birth rights. Instead, Shepherd neatly transposes the Nazi's into a cult that could seemingly exist in any time period. Looking like a cross between Sia and Lady Gaga, Patrycja Kujawska does a fabulous job of The General. She is at once terrifying and ridiculous. There are more than a few world leaders who may fall into a similar category.

Oskar's wisdom beyond his years allows him to see the darkness that is coming. We're given subtle reminders of how easy it might be to be swept up with a movement. Oskar's father Alfred is at first a harmless greengrocer but his transition to ethnic cleanser is a chilling one for a character you once liked.

As ever with Kneehigh, the ensemble work in harmony to bring this world alive. Dom Coyote has a wonderful ethereal quality to his storyteller as he merges back and forth from the action. Damon Daunno as Jan Bronski gives a wonderful hopeless romantic turn.

There are moments of classic Kneehigh ingenuity here: the puppetry, the shattering of glass panes and big visual set pieces that constantly delight. However, the chopping and changing becomes hard to follow and the narrative is occasionally lost in amongst the impressive visual feast.

Charles Hazlewood is once again at the helm of the music and his warm and fuzzy score works wonders. The drum pads and synths give a modern edge that complement Shepherd's vision.

Ultimately, The Tin Drum asks as many questions as it seeks to answer, which may well be the best type of theatre. "Viva la complexity" indeed.

The Tin Drum at Bristol Old Vic until 18 November.

Photo Credit: Steve Tanner

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