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Monday, 5 March, 2001, 17:59 GMT
Review: Best kept secret?
Secret Garden
The play is an adaptation of the much-loved book
BBC News' Neil Smith reviews the RSC's production of The Secret Garden at the Aldwych Theatre in London.

The Royal Shakespeare Company scored a notable success recently with its adaptation of C S Lewis's Narnia fable The Lion, the Witch and the Wardrobe.

Now they're back in the West End with another family-oriented production, this time based on Frances Hodgson Burnett's much-loved children's book.

Sadly, Marsha Norman and Lucy Simon's bland musical - which premiered on Broadway a decade ago - fatally lacks the charm and wonder of the original story.

Secret Garden
A dark atmosphere pervades throughout the play
The exploits of orphan Mary Lennox, who comes to England from India to live with her uncle on the lonely Yorkshire moors, are sure to appeal to younger audiences.

But lyricist Norman and composer Simon are more interested in the emotional traumas of her prematurely widowed uncle Archibald (Philip Quast).

Ghostly visitations from Archie's dead wife - not to mention the cholera epidemic which kills Mary's parents - add to the dark atmosphere that pervades throughout.

Mary finds solace in the company of her sickly cousin Colin and the mysterious walled garden so beloved of his mother.

By bringing its flora and fauna back to life, plucky Mary banishes the gloom that has blighted Misselthwaite Manor since her demise.

'Sluggish pace'

This she does with the help of yokel Dickon (Craig Purnell), maid Martha (Linzi Hately) and a friendly robin redbreast.

A better advertisement for garden centres would be hard to imagine.

Musicalising Hodgson Burnett's classic must have seemed a terrific idea. But the adult themes and sluggish pace will make this a long haul for little ones.

The lack of strong numbers is also a problem - this is a lyrical piece in the Stephen Sondheim mould rather than an Andrew Lloyd Webber-style blockbuster.

The youthful leads (who alternate after each performance) are refreshingly unaffected, but this is still a show that only Charlie Dimmock could love.

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