The Borrowers

Claire O'Leary and Aoife Mulholland in The Borrowers. Image, Ste Murray

****

Fun fuelled feel-good forgives a flurry of failings in the Gate Theatre’s ham-fisted musical, The Borrowers. A seasonal offering to delight the kiddies even as Scrooges, Grinches, and more demanding musical aficionados might be less impressed. Róisín McBrinn’s clunky direction, Fionn Foley’s gauche tunes, Charles Way’s screenplay structured adaptation struggling for footing beneath a technical avalanche. A reminder that even in the midst of a visual maelstrom what matters most is the presence of the performer. The Borrowers a stunning success in terms of its superlative cast, with Claire O’Leary looking every inch a musical theatre megastar.

For those unfamiliar with Mary Norton’s tales from the 1950s, it’s all about the little people. Tiny, cautious outsiders who live beneath floorboards, behind fireplaces, in badger setts, or under a grandfather clock. Surviving by borrowing items from human "beans" which are then repurposed for their own needs. Like the Clock family, whose adventurous daughter Arrietty dreams wide eyed and big, longing for the outside world. Pushing her luck, she’s discovered by an ailing human boy, Tom, leading to a mad dash for the wilds as their home is destroyed. Alone, with nowhere to live, the immigrant family endure many dangers as they search for other Borrowers, hoping they’re not the last of their kind.

Ruth McGill in The Borrowers. Image, Ste Murray

While May switching the setting from England to Ireland delivers some playful gags, structurally it all plods along like a multi-scene novel badly adapted for the screen. Something McBrinn’s direction never successfully negotiates, with tension hampered by ho hum pacing and clunky staging. From digital ingenuity to Bosco level basics, a barrage of tech delivers a visual food fight of uneven quality, employing everything from projections to puppetry. Paul Willis’s overworked set proving hard work whilst working hard to achieve cinema level standards, with its earthy colours evoking a depressive dullness. If the point was to offset a colourless banality with Willis’s clever and colourful costumes it’s a hollow victory, even as TK and Tayto outfits, along with crayoned hair, prove a wonderful touch. Sarah Jane Shiels lighting far more successful in establishing mood and tone. As is Dick Straker’s hit and miss video design leaning into low budget cinematic as often as it proves theatrically inventive. Róisín Whelan’s movement sequences might be full of playground antics, but dances never excite. Nor do Fionn Foley’s songs, which show huge promise, most notably the feel-good finale. The bulk sounding as if written in the style of musical theatre for a sketch on Whose Line Is It Anyway, against which singing sometimes struggles to be heard.

If its kitchen sink approach to visuals feels as cluttered as a Borrowers backpack, the experience is made infectiously enjoyable by an infectiously entertaining cast. David Rawle showing impressive range as the feeble Tom and wild boy Spiller. As is Marty Beanz Warde in a variety of contrasting roles. Ruth McGill proves utterly terrific as the pantomime villain, Mrs Driver, along with Aoife Mulholland as the snobbish Homily. The Mrs Bucket of The Borrowers world, Mulholland frequently mesmerises just as she did in the forgettable Piaf. Ben Morris as the paternal Pod is excellent doing what paternal Pods do. But the night belongs to Claire O’Leary, a little miss dynamite of talent, presence, exuberance and energy. O’Leary’s adorable Arrittey the fulcrum holding it all together. Standing out in a superb ensemble, her star in the ascendant and sure to keep on rising.

Ben Morris, Claire O'Leary, Aoife Mulholland and David Rawle in The Borrowers. Image, Ste Murray

Like Arrietty, and probably O'Leary, The Borrowers is a feisty little thing that dreams big. Unlike Arrietty, it’s never as big as its dreams. Its pantomime theatrics suggesting less a musical so much as an early morning, pre-school TV programme at times. One that trots to a standing ovation whilst looking like it belongs in The Ark rather than the West End. If guaranteed to evoke joy on young children's faces, like seeing presents Christmas morning, for some musical theatre lovers The Borrowers might feel like receiving socks. Fancy, funny, colourful socks, but nothing too exciting. Still, young children everywhere are sure to enjoy the fun and the mayhem.

The Borrowers by Mary Norton, adapted for the stage by Charles Way, runs at the Gate Theatre until January 12, 2025.

For more information visit the Gate Theatre.