‘Twas the night before Rapunzel’s eighteenth birthday when, all through the tower, not a creature was stirring, not even a cow, er, because Queen Gothel (a classy Louise Stewart) has imprisoned her in a door-less dungeon surrounded by a wide moat and a forest of prickly thorns to which entrance is forbidden.

The reason for her cruelty being the prize of eternal youth and beauty which she can secure through the consumption of a magic potion – eighteen innocent tears collected on each of Rapunzel’s birthdays.

Hence the long hair, hence the short temper when calls of “Cry me a river” are interrupted by the “woof” of a sniffer dog, the “aloha” of a Spanish monkey and the “ow” of a reality television prince who has more chance of knocking himself out than knocking on the door of fame and fortune.

Through a tight script which is almost as lean as Tyler (#twometerman) Collins in riotous form as the goofy Prince Marmaduke; a snappy pace which is quicker than the double take at the droll Josh Whitelaw’s sudden transformation from bad puppy to leather-clad bear (one for the adults); and some fine ensemble playing from the five-strong cast which includes a radiant Katharine O’Donnelly in the title role and a lively Kay McAllister as Mirari the mischievous Monkey; director Ed Robson and dramaturg Roderick Stewart have delivered on their promise to create a truly “hair-raising adventure”.

An adventure which, more so than in previous years, is built around and succeeds because of a healthy sprinkling of audience participation which as many performers will attest can be a double-edged sword. On the one hand, it engages the audience both vocally and physically; on the other, it renders you in the same helpless state as the stranded protagonist in Stevie Smith’s poem “Not Waving but Drowning”.

Thankfully, Rapunzel is of the waving variety with ample but controlled room for booing and cheering which keeps the audience and cast on their toes from beginning to end. A high energy complimented by a warm heart which beats fleetingly but tenderly in a number of exchanges between Mirari and Rapunzel. Most notably when the latter eventually escapes from the safe but suffocating tower of childhood to begin her awfully big adventure in the woods.

Peter Callaghan
Latest posts by Peter Callaghan (see all)