'Whistle Down The Wind', Runway Theatre Company, Mitchell Theatre, Glasgow, 15/9/12

I adore 'Whistle Down The Wind'. I think the story is enchanting and the score by Andrew Lloyd Webber and Jim Steinman is sweepingly epic, lush and thrilling. The modern fable of a story is enchanting and it is up there amongst my favourite of shows.
So I, naturally, grab any opportunity to see the show. I missed the original London production (and the earlier Washington tryout natch) but I did catch the brief Bill Kenwright West End revival and subsequent tour. Kenwright made many changes from the original London production, primarily to make the stage version more in keeping with the film's family appeal (the '98 London production was darker in tone). Some of the changes I liked but some, especially in relating to the cutting of songs, I didn't.
It was a pleasant surprise to see then that the songs cut from the Kenwright show were re-instated for the Scottish amateur premiere. These were the songs which were, perhaps, some of the darkest in the show, including the rather gruesome tale of Annie and Charlie Christmas (but kids enjoy a bit of that stuff, right? I know I did). This variety of light and shade is what was missing somewhat from the Kenwright version and could only be a positive addition to the show.

Runway Theatre's production was a well executed one with but a few quibbles. The cast were overall more than competent though, naturally, there will be those who stand above the rest. Amongst the ensemble Neil Patrick Harris look-alike Dominic Spencer as the 'Snake Precher' and Bob McDevitt's 'Sheriff' stood out. The former's vocals being amongst the most memorable of the evening.
Lead Ellie MacKenzie's 'Swallow' had a sweet voice whilst 'The Man' of J Campbell Kerr had a beautiful baritone but struggled with some of the higher notes (the role is for a tenor). There were some minor diction issues and some performances could have done with some more light and shade. But these are, perhaps, all things that the director, Robert Fyfe, should have addressed. Along with some of his pacing. It felt, at times, that the show playing to one constant rhythm as if there was a metronome clicking away off-stage. There were moments that should have been played slower, and others that should have been faster. Otherwise his direction was perfectly fine, aside from his not staging the Overture at all, which I found somewhat puzzling since it follows the actual start of the show and seemed to bring the show to an abrupt stop just as it it was getting started. But, like I said, small quibbles.
The musical direction of David R Dunlop was quite exuberant, although some numbers could have done with a faster pace, especially in the more dramatic moments.

The show really belonged to the children, however, who were quite excellent throughout; from sustaining accents (which one or two adults did not) through to their singing. They truly lit up the stage and brought a life-force whenever they were onstage. Kate McVey as 'Brat' and Ethan Kerr as 'Poor Baby' more than ably led the whole lot of them.

I will mention, finally, the set which was provided by Scenery Projects which folds out in various guises to produce the variety of locations as needed for the story. This unfolding aspect actually lent an air of 'storybook fairytale' to the evening's proceedings, further creating another layer to this modern fable.

This production, despite my small quibbles with it, reinforced my love for this show more than ever. Perhaps the utter innocence of the children performing in it (who, as far as I am aware, are not stage school brats) was the perfect manifestation of what the show and the original book represents.
Well done to all.