We’re Going on a Bear Hunt is an action-packed treat for those who love the book and the ideal theatrical experience for first time theatregoers. Sally Cookson’s hugely inventive production, set to Benji Bower’s lively musical score, is a mischievous celebration of play, utilising everyday objects and materials to capture the imagination and propel audiences into the world of Michael Rosen and Helen Oxenbury’s much loved picture book.
We spoke to Thos Wainwright to find out more.
We’re Going on a Bear Hunt is at The Lyric Theatre 4th July – 2nd September 2018.
You’re appearing in We’re Going on a Bear Hunt Live, what can you tell us about it?
A Dad, Daughter, Son and Dog all go on a Bear Hunt. They have to find their way through mud, snow, a river and all sorts of wonderful environments. And in the end of course, they find a bear, and have to run home before the bear GETS them. There’s lots of music, a bit of dancing and 100% silliness.
How would you describe your character?
Not a disciplinarian. Dad is just about responsible, but is easily given to bouts of daftness. When he was a child at school he often got in trouble for giggling and telling bad jokes. Not much has changed since then.
This isn’t the first time you’ve played Dad in We’re Going On a Bear Hunt Live, what are the advantages to returning to a role you know so well?
We’ve got a new cast member, Joey, playing Boy, so we’re remaking the show with him. And when you do that, you get to do new things and have fun in different ways than before. Also I haven’t been in the show for a year, so the other guys who have can tell me all the brilliant things the other Dads did and hope that I can do half as well as them.
What kind of things do you have to consider as an actor when performing for children?
Children aren’t affected, so if you are they won’t trust you. Kids’ instincts are spot on, they haven’t got much else to go on, so warmth, honesty, and unconditional goodwill are useful things to hang on to when performing for younger people.
What do you think it is about Michael Rosen and Helen Oxenbury’s picture book that makes such a good stage adaptation?
It’s brilliantly structured so the story is strong. I’m not convinced any show works particularly if the story isn’t robust. There are obstacles, resolutions, twists, and there’s a massive bear. What’s not to like?
Why do you think it’s important that children’s theatre has a presence in the West End?
Because children are the most important people in any sector of any society. No doubt there are more pressing issues facing our children than adequate entertainment in the West End, but if such a place is to exist, kids should get a strong look in. And happily, they do!
