The Book of Everything

A marvellous return season this time at the Seymour Centre
here's my artshub revuiew
http://www.artshub.com.au/au/news-article/reviews/performing-arts/the-book-of-everything-185851?sc=1

Company B Belvoir and Kim Carpenter’s Theatre of Image’s 2010 smash hit has transferred most successfully to the York Theatre at the Seymour Centre, convincingly transforming the York’s thrust stage into Amsterdam, 1951.
While the remount features some slight modifications and a couple of cast changes from the original production, it is still as magical as ever. Sticking very closely to the novel, The Book of Everything has been adapted by Richard Tulloch from the book by Guus Kuijer. Directed by Neil Armfield, its main character is nine year old (almost ten) Thomas Klopper, a little boy who dreams big. When he grows up, Thomas wants to be happy. He sees things others cannot imagine and his inquisitiveness and delightful spirit win over those around him.
Thomas is writing a book. His father says all important books are about God. Even so, Thomas records all the unusual and interesting things he observes that everyone else appears to ignore or dismiss – tropical fish in the canal, a deluge of frogs, the Son of God materializing for a chat - and calls it ‘The Book of Everything’. Dark domestic violence and the pain of hidden family secrets are revealed, and the search for truth, courage and self-knowledge developed. (There are some painfully explosive emotional moments, especially in Act Two).
The leading role of imaginative, nervous Thomas is brilliantly played by Matthew Whittet. Very believable as a nine year old, he captures the innocence and awkwardness of that age superbly.
His stern, authoritarian, bombastic Bible-and-wife-beating father is excellently portrayed by Pip Miller. (At times we can sympathise, in a way, with his aloof loneliness, especially at the end of the play.) Thomas’s downtrodden, beautiful mother is brought to life by comely Claire Jones who radiates warmth and love and battles hidden domestic violence. Thomas’ older sister Margot is delightfully played by Rebecca Massey as an obsessive, maddening 16 year old.
Other colourful characters include the sunny, bicycle-riding feminist Aunty Pie (a delicious Deborah Kennedy), who hides dark secrets of her own; and Eliza (Lucia Mastrantome), a vibrant, confident older girl Thomas falls in love with – she is one of Margots’ friends and has a squeaky leather leg.
Another important character is the neighbourhood ‘witch’ who becomes Thomas’ friend – the wise, caring yet startling Mrs Van Amersfoort (Julie Forsyth ), who sparks Thomas’s journey of self-discovery by encouraging him to read and listen to music. The delightful scene where Thomas reads aloud to her and she becomes a little girl again is a theatrical tour de force.
The terrific Jesus, as portrayed by John Leary, looks straight out of traditional Sunday School illustrations – young, long haired and bearded, clad in a white robe – but He has subtly challenging and confrontational views.
There’s also the ‘Bumbiter’ (a vicious neighbourhood dog) also played, wonderfully, by Pip Miller.
For this production the acting style is ensemble, full of infectious enthusiasm, with various cast members at times acting as narrator or foley artist. The portrayal of the interminable, boring church services on a Sunday are great fun and I liked the ‘plague of frogs’ and the turning the water in the fishtank to ‘blood’ as well as the gale of leaves in Act One, and the set piece chase where Thomas attempts to retrieve his letter to Eliza. Stylized mime is used for the violence, lit by flashes of strobe lighting.
Audience participation is encouraged in a couple of parts – e.g. the ‘plague of frogs’ and the Read-Aloud Book Club meeting – and the children in the audience loved this.
Kim Carpenter’s bright, bold and colourful set design (typical of his Theatre of Image) is dominated by a giant book centre stage. Part fairytale, part pop-up book, the marvellous illustrations which adorn its gradually revealed pages serve as set designs. The glorious clutter that is Mrs Van Amersfoort’s house, and the plague of frogs particularly deserve special mention. Iain Grandage’s enchanting score – including organ and poignant cello – marvellously highlights, comments upon and frames the action.
An exciting, enchanting and thought provoking production, it showcases some top Australian talent. The audience roared and cheered its vociferous approval at the end. As I overheard upon leaving the auditorium, this show can now be regarded as an Australian theatrical classic.
Rating: Five stars
The Book Of Everything
A Company B Belvoir/Theatre of Image co-production
Director: Neil Armfield
Adaptor Richard Tulloch
Set and costume designer Kim Carpenter
Choreographer Julia Cotton
Assistant director Eamon Flack
Composer/musician Iain Grandage
Sound Designer Steve Francis
Running time: Two hours 20 minutes, including interval
Cast: Matthew Whittet, Claire Jones, Pip Miller, Julie Forsyth, Rebecca Massey, Lucia Mastrantone, John Leary and Deborah Kennedy
York Theatre, the Seymour Centre
September 20 – October 1