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POSTED: 24 SEPTEMBER 2011 The Book of Everything, adapted by Richard Tulloch from a novel by Guus Kuijer | Directed by Neil Armfield Theatre of Image & Belvoir & Sydney Children's Festival | Seymour Centre, Chippendale, Sydney | Until 1 October It is 1951, Amsterdam. Thomas Klopper (Matthew Whittet) is nearly 10, very timid and sees things that other people don’t see — tropical fish and guppies especially. Thomas lives with his father, mother and older sister, Margot (Rebecca Massey). He also sees his father hit his mother. He writes down all these things that happen to him and Kim Carpenter’s set design is a giant copy of the book he is writing — The Book of Everything. Beautifully illustrated, it acts as the backdrop to Thomas’s story.
Thomas encounters many challenges in his daily life — facing his inner fears, domestic violence, questioning established and rigorously enforced religious beliefs, and his personal quest for happiness. Big issues for little people! Like all the best writers for young people, Guus Kuijer, the original novelist, and Richard Tulloch, the adaptor, start from the assumption that children do think about these issues but that they may not have the vocabulary or opportunity ever to discuss them. Tulloch, writing here for the Theatre of Image and Belvoir, has found just the right level of theatricality to communicate these issues in a heroic style. As Thomas, Matthew Whittet is totally convincing and the driving force and energy of the production as he radiates wide-eyed joy that is so infectious it instantly draws you into his world. But this is an ensemble show and there is not one performance that is not top notch. John Leary is a suitably hip and urbane Jesus. Pip Miller as Father is terrifying and austere. He is also self-righteous and ignorant, and Caroll plays him with total conviction. Julie Forsyth as Mrs van Amersfoot, the witch, is a delight. She is brave and compassionate and caring. Lucia Mastrantone as Eliza, the girl with the squeaky leather leg, is kind and inquisitive and Stone gives a subtle performance that never veers into sentimentality, as do the three actors who play Thomas’s sister and his mother and his aunt. The musical composition by Ian Grandage, along with the sound design by Steve Francis, heightens all the theatrical activity which is perfectly integrated by Armfield’s expert and impeccable direction. Grandage is also a very versatile musician and is responsible for establishing the mood and tone of many the scenes. Members of the cast operate sound effects on stage and they bring to life the dramatic action and add a further dimension of magic. There are layers of meaning here so the adult audience is never bored, and despite the weighty themes there is enough humour and expert direction to ensure that the piece is not too dark. Interactive in many ways, it quite empowers children and adults alike be the person you want to be, once you have the courage to face your fears. This really is a play that will appeal to a wide age range. Borrow a child, or just take your own inner child to see this heart-warming show. Thumb Up!
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