CARADON Youth Theatre are back in force to bring a fresh take on a favourite childhood tale.

It’s a world première this week for Steven Luke Walker’s innovative musical adaptation of Kenneth Grahame’s The Wind in the Willows. Don’t miss the chance to see it first in Liskeard, performed by the youngsters for whom it was specially written!

Steven is simply a gifted composer and writer. He’s done a tremendous thing in taking up key threads of the plot and using them in new ways to suit a 21st century audience and the young cast, while remaining faithful to the themes of friendship and loyalty, the emotion, and the humour in the 1908 novel. With Grahame’s rich descriptions and detailed dialogue to work with, it’s a challenge to represent and pare down on stage, but original phrases are woven into new conversations, and the songs carry the story meaningfully as well as drawing out the depth in each of the main characters. Musical genres and motifs set the mood and pace, and nowhere is this done more beautifully than in the first riverbank scene. As Mole and Ratty mess about on the river (in a real rowing boat!), the flute, piano and vocal tell the delicate excitement of early spring and a budding friendship, the sparkling light on the water, and the bittersweetness of moments that are here to be savoured and then pass.

The ensemble cast has choreography that also effectively creates the changing seasons, such as in the swirling snowdrifts and the pulsing energy when everything comes out of hibernation.

And when the whole cast appear in scenes such as the courtroom it’s good to see each of the groups take their turn to convey elements of the story, coming together to make something bigger than the sum of their parts.

Caradon Youth Theatre’s strength is in how director Nic and choreographer Jason give young members the chance to shape the production. When Toad is in prison, we see a brand new quartet of animal inmates (Dawa, Bryher, Portia and Billie) each choosing a nationality for their gaolhouse character and song.

This new adaptation spends longer developing the characters of the criminal woodland gang – their story, as they connive and conspire against Toad and friends, runs alongside the familiar plot. Steampunk styled costumes and slick choreography in pieces such as ‘Toad in the Hole’, and great use of the space, movement and props in ‘Scandal’ are among the high points.

Harvey Brown brings a brilliantly unhinged feeling and gripping presence to the part of Chief Weasel, and Fred Brown in the roles of the delinquent Winston Wasel and the scouse jailer hare is a true comic talent. Stella Stoat is the brains of the trio and together they hold the audience’s attention, bringing a tougher edginess to the original story. As femme fatale Stella, Caitlin Bussell gives a taut performance, delivering challenging vocals with poise.

As the story moves toward Toad’s inevitable next calamity, the contrast between the gentle, pondering natures of the riverbank creatures and the rough and steely-eyed wild wood folk comes across not only through the music but through the casting and how the young actors inhabit their characters.

The show as a whole could possibly have lost just a little of the shouting and scrapping, and explored a little more of the wonder in nature and friendship – but then, perhaps that’s because this reviewer is more of a middle-aged badger than a rascally young weasel...

On that note, Evie Dodsworth, also assistant director for this show, showed how versatile she is coming from her previous roles. She anchored the story and the younger members of the cast around her physical and verbal delivery as the wise and stoic Badger.

Tadgh Moran is a delight as the kindly, pedantic Ratty, and in duet with Mark Sipos as Mole they have some of the show’s warmest moments.

Mark, at just 10 years old, took on his role with clarity and purity of voice, great projection and inner confidence, and a pleasing slightly bumbling feel to the spectacle-wearing Mole.

Dan Sobey, through his clear and confident vocal, and his physicality, had a great way of communicating Toad’s self belief and generosity, his transfixion in the grip of one of his fads, and even the rubbery elongated limbs! Emily as Nurse Prudence was a great foil to Toad and delivered one-liners with perfect timing.

Smaller parts all brought something important – like the otter cubs with their dipping heads and paddling feet, (Reggie, Dalia, Evelyn and Teddy), and the weasels (Ava, Ella and Reuben), and many of the younger members did well as they managed two or three different roles.

Billie Sturrock deserves a mention for an impeccable accent and getting across the hapless kindness in her Welsh Millie Mole.

There’s always a ‘hairs standing on end’ moment and for me it was Elektra Ravelli as Otter mum, singing the beautiful ‘The Wind in the Willows’.

But there’s a lot of humour too in this adaptation: Kenneth Grahame would likely approve of the laugh out loud moments for both youngsters and grown ups that Steven has written in to the script.

The Wind in the Willows continues its run at Liskeard Public Hall tonight (Wednesday May 31) and through to Saturday June 3, with performances each evening at 7pm, and a matinee at 2pm on Saturday. For tickets visit www.ticketsource.co.uk/caradon-youth-theatre