Malory Towers
Sensible, Sound and Spiffing
Malory Towers
by Emma Rice, adapted from the novels by Enid Blyton
Emma Rice Company et al at Richmond Theatre, until 4th July, then on tour until 2nd August
Review by Eleanor Lewis
Whilst it’s tempting to begin a Malory Towers review with something along the lines of “I say chaps, Malory Towers is a Hoot!”, though true, it wouldn’t really do justice to Emma Rice’s theatrical adaptation of Enid Blyton’s well-known and well-loved series of books about the adventures of a group of girls in their boarding school, Malory Towers, just after World War Two.
The books themselves follow the girls from their first year at school until they leave. This adaptation, though set in the first year, takes storylines from all of them. Seven girls meet on the first day of a new term and begin to bond with each other in their dorm, discovering their various personalities, largely enjoying the differences and finding each other interesting. There is, of course, an exception, the unpleasant, bullying and deeply troubled Gwendoline is also present, apparently with the sole purpose of ruining everyone’s life, particularly that of Mary-Lou, the shyest and most timid of the group.
The business of ‘getting to know you’ is very entertaining. The script is witty, fast-paced and lands perfectly with an audience of adults and children. This adaptation works for both, not because the two groups are laughing separately, but because it entertains both at the same time, without patronising characters or audience. In fact there is a general vibe of warmth and kindness to the proceedings which adds to the pleasure of watching.
Aside from the familiar, gently authoritative voice of Sheila Hancock as headmistress Miss Grayling, this is an ensemble piece, but each actor has made her stock character live and breathe and be relatable to a 21st Century audience (there are opening and closing scenes set in the present day, which are arguably not needed, but perhaps reinforce a contemporary relevance).
Bethany Wooding makes Sally Hope, a girl born to lead, suitably vulnerable despite her confidence, and Zoë West manages to turn The Hon Wilhelmina Robinson from the lower echelons of the aristocracy, with the most far-fetched backstory, into friendly tom-boy Bill with whom you would happily share your midnight feast. Darrell (Robyn Sinclair), Alicia (Molly Cheesley) and Mary-Lou (Eden Barrie) all take an uplifting journey (in the most jolly of ways) coming to terms with their issues whilst supported by the group.
And in the hands of Anna Soden, the vindictive, miserable Gwendoline ultimately becomes sympathetic, a potentially damaged child most in in need of her Malory Towers family and who will, because of it, eventually be redeemed.
The levels of musical skill on show are impressive, the girls sing themselves to sleep with a beautifully rendered version of Mr Sandman and there are many other musical interludes throughout the show. Talented Musical Director Stephanie Hockley has achieved great things with close harmonies, and her own particularly charismatic performance as French pupil Irene Dupont, almost constantly on piano accompaniment duties, is a treat.
Lez Brotherston’s set is a great piece of work, morphing from dorm to classroom, to French bar, swimming pool, cliff edge and various others. The set incorporates the puppetry of Sarah Wright and Lyndie Wright to great effect. The puppets and the animation work (Simon Baker, Beth Carter and Stuart Mitchell) are an endearing part of the whole, recalling the “adventure” element of books you read as a child and bringing them back to entertain you as an adult.
As WW2 moves further into history, it’s both interesting and comforting that this production doesn’t shy away from the damage done, not only to those who went to war, but to those who had to live with them when they came back. The vandalised, red paint-spattered set for the play the girls were to perform at the end of term symbolising the carnage their parents had had to deal with in one way or another. There is a surprisingly moving piece by director Emma Rice in the programme about her mother and the privations and losses that generation of women were subjected to when they were growing up and what they achieved on reaching adulthood. They were the generation the girls of Malory Towers grew up to be.
This is a wizard production! It fires on all cylinders, funny, musically impressive, great puppets, moving without being sentimental and a general force for kindness, goodness and strength, as the school song says:
“When we are returned back to the world
We’ll be sensible, sound and strong,
Ready to be valued, loved and trusted
Women that the world can lean on
Women that the world can lean on.”
Eleanor Lewis, July 2026
Photography by Steve Tanner
Mark Aspen 