PLAY OVERVIEW

This enchanting story intersperses five of Beatrix Potter’s animal stories, including favourites such as Peter Rabbit, The Tailor of Gloucester and Jemima Puddle-Duck with the tale of Beatrix Potter’s own life growing up in a strict and lonely Victorian household.  The play introduces us to Annie (Beatrix’s governess and the play’s narrator) and to Annie’s children for whom many of the stories were originally written.

Moving back and forth across time, each of the animal stories is woven into excerpts of Annie’s and Beatrix’s lives. We gain an insight into the fantasy world created by Beatrix Potter who, despite her writings and illustrations being actively discouraged, went on to become one of the most widely read children’s authors of all time.  

The performances of Peter Rabbit were presented in two acts covering the period spanning 1883 to 1950.  Scenes were based in a variety of locations including Hill Top Farm, the Potter’s house, Annie and Edwin Moore’s house, the Tailor of Gloucester’s house/workshop, the Linnean Society, Mr. McGregor’s garden, a doll’s house, Warne and Company offices, Jeremy Fisher’s pond and Jemima Puddle-Duck’s farm.

The stage design involved two raised rostra on either side of the stage, contrasted to represent the Potter’s upper class house and the Moore’s more modest dwelling.  Between these two was a “book”, the pages of which resembled those from Beatrix Potter’s books, which served as a backdrop for each of the animal stories. 

FROM THE DIRECTOR

Agatha Christie’s plays always draw big crowds. I have tried to understand their success with mixed results. Some of the things she writes make no sense at all; many of the characters seem poorly constructed and there are holes in the plots through which one might drive the Orient Express. 

Nonetheless, we love her. We don’t seem to care so much about realism as drama and that, perhaps, is the key. Mystery killers knocking people off right in front of us is pretty dramatic. Bizarre assortments of characters with motive, means and opportunity — well, one of them did it for sure and we are jolly well going to stick around and find out who and how and why.

Perhaps we go home feeling safer having seen evil thwarted and good prevail at close hand. Perhaps we experience the drama with a little less trepidation because we know Agatha will ensure the safety of the innocent and possibly even throw in a laugh. 

I find her fun to direct; Agatha’s crusty characters invite all kinds of possibilities. I found this play several years ago and started pitching it to Rep because nobody stages it. Too late I studied the script and realised why. It’s a logistical nightmare. Scenes all over England and time travel no less.

Scott Hunt, Director