Review: PINOCCHIO, Shakespeare’s Globe
Photo credit: Johan Persson
Shakespeare’s Globe brings everyone’s childhood magic to the stage with a new adaptation of Pinocchio. This classic tale has been reimagined countless times since Carlo Collodi first published The Adventures of Pinocchio in 1883, yet it remains one of the most beloved children’s stories of all time. This latest production looks back to the original novel rather than the Disney version many of us are more familiar with.
The book and lyrics by Charlie Josephine, with music and lyrics by Jim Fortune, offer a slightly different angle on the moral of the story. In Collodi’s original, Pinocchio is constantly punished for his lack of moral fibre, his refusal to take responsibility, and his desire for fun. Here, the focus shifts: instead of centering Pinocchio’s journey alone, the production highlights the journeys of the people who meet him. In the production’s own words, Pinocchio “inspires all the other characters to embrace their humanity.” It is a beautiful idea, and we do appreciate learning more about the other characters’ stories. However, it does mean Pinocchio’s own hero’s journey isn’t as prominent — and without that focus, his rebirth as a “real boy” lands with slightly less emotional weight.
The songs are a delight to listen to, filled with big musical numbers that lean into a late-night entertainment vibe. The musicians are skilful and joyful, and it’s a refreshing change to see them up on the balcony rather than hidden under the stage, as in most musicals.
Directed by Sean Holmes, the production is more than just a musical. It brings together puppetry (obviously), music, and even a sprinkle of panto — because why not? It’s Christmas! The actors constantly break the fourth wall, squeezing in cheeky jokes for the adults and creating more entertainment for the whole family.
The performers are multi-talented. Most actors double as puppeteers on top of the usual demands of musical theatre. The ensemble’s energy is high, and when they pull what feels like a classic Globe move — having the actors come into the standing audience, creating immersive moments — the crowd responds with surprise and joy. Pinocchio, played by Lee Braithwaite and operated by puppeteers Aya Nakamura and Andrea Sadler, is brought to life with lifelike movement and real warmth in the voice. Notable performances include musician/actor Ed Gaughan as Franzini, who earns the audience’s love through witty interactions; Lucy McCormick, whose Cat/Blue Fairy brings quirky funkiness; and Steven Webb as Giacomo Cricket/The Coachman feels like Disney on acid in the most delightful (and kid’s appropriate) way.
The costumes, supervised by Megan Rarity, are fun and camp. However, the complexity of the puppeteers’ black-and-white clown costumes does take some getting used to. At times, they feel distracting, pulling focus away from the puppets themselves. One could argue that, given the production’s theme of embracing humanity, the intention is for us to see everyone equally, but the visual busyness does make us lose focus.
Peter O’Rourke’s puppet direction and design are successful and delightful to see on stage. There is a little disappointment around Pinocchio’s nose; audiences naturally have high expectations of seeing the mechanism of the nose extending, and the way it is currently done is not as exciting as some of the other moments. The Whale (or Dogfish in the original text) is, however, thrilling and brilliantly executed.
It is appreciated that the production tries to stay true to the Italian origins of the story, but some of the cultural references risks drifting into stereotype. The very little Italian used in the show consists mainly of phrases like “Mamma mia,” which pulls us into familiar cliché territory.
Pinocchio is a magical family show offering plenty of festive charm, musical groove, and imagination. Even with some structural and tonal imbalances, it remains an enjoyable and lively retelling of a classic story, injecting it with new meaning. It is surely a very enchanting experience for both children and adults.
**** Four stars
Reviewed by: Diana Feng
Pinocchio plays at Shakespeare’s Globe in London until 4 January, with further info here.
