Tom’s Midnight Garden at Crescent Theatre, Birmingham Review
Written by Mia for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
A beloved time-slip classic, this story gets significantly less airtime than it should, so I was pleased to see a play version bring it to life at the Crescent Theatre. The stage here is surprisingly large, which is fantastic for the performers and production team who have such a great space with which to play.
Upon entry to the theatre, the set is quite bland, but there is the promise of more due to the nature of the story. The grand reveal of the garden is outstanding and designer Erik Olsen has really thought about getting the most out of the space in a creative way. The use of depth and height to aid with the majestic perspective of the garden brings the story to life and the actors can run around and play successfully. The use of an umbrella for a geese is particularly clever and adds a little humour to what is quite a serious play.
David Woods’ script ensures nothing from the original is lost, although some scenes feel a little static, due to the excessive dialogue. The clever use of music and movement to enhance the story works well, and Chasse Peng is to be commended for the choreography. It’s a fantastic adaptation, while the turntable ensures a strong flow, especially for the times when the children play in the garden.
Unfortunately, what lets this production down is the acting. Although the cast is pleasingly diverse, and there are strong performances from Abigail Darwin (Tom) and Ruby Corbett (Hatty) who carry the show, the supporting cast range from over the top to wooden, which is a shame. Dixon Wong (Abel) and Catherine Mazhandu (Young Barty) bring some good characterisation to their roles, but overall the show is lopsided in terms of performance. Corbett displays excellent maturity in her portrayal of Hatty, especially the evolution from a little girl to a young woman, while Darwin is a fantastic character actor and brings real depth to Tom.
Memorable moments include Tom’s ghostly travel through the doors, which is simple but effective, and the game of catch with the cousins. Having Peter (Lauren Parnell) almost as a narrator with Tom’s letters works well, although more could have been made of their meeting at Ely Cathedral; the skating scene is also beautifully done.
Overall, it is a lovely family show, but the acting does not quite match the production values.
Plays until 20 December 2025
★★★
