The Frog Princess

In a lamp-lit old Russia of the imagination, a king instructs his sons that the time has come for them to seek their destined brides. Young Prince Ivan is horrified to discover that his fated spouse is a large green frog (a slightly gruesome puppet who – for those old enough to remember – bears more than a passing resemblance to Humpty from Play School). This frog bride, naturally, turns out to be much more than she seems, but a perilous quest has to be endured before Ivan and his beloved are re-united in their proper forms.

It’s a brave choice from Wild Wood Theatre to tell this vast wonder tale in its entirety, resisting the audience’s expectation (some of it vociferously expressed) of a conventional happy ending about halfway through the narrative. But if the smaller folk don’t necessarily follow every enchanted twist of the story, there’s no doubt of their fascinated belief in the russet and gold play-world conjured up by the show’s two performers.

Telling the tale, Danny Scheinmann is a bright, confiding, and ever-so-slightly naughty presence. He’s especially wondrous when transforming himself into an ill-tempered crone (‘I hate being a servant’) grudgingly entering the world of royal espionage, or Baba Yaga’s hut capering gleefully on nimble chicken legs. His creations are horrific and charming and funny, offering the comforting reassurance that even Baba Yaga doesn’t stay terrifying for long. And violinist Heather Cowen combines sensitive musicianship with a wide-eyed quality of listening that casts a folkloric glamour upon the unravelling fable.

The audience are (largely) delighted to get in on the action, singing and miming along with Vasilissa’s midnight labours. There’s much laughter, a few tears, some hiding at the scary bits – and the show takes it all in its confident stride. Warm, wise and beguiling, The Frog Princess is fifty minutes of rough magic that takes its audience on an epic imaginative journey.