by JESSICA PRETORIUS
Illustrated by Anoushka Guli
When you search for images of the Royal Shakespeare Company’s (RSC) stage adaptation of My Neighbour Totoro, almost nothing comes up. Barring a picture of a car and some puppet chickens, there’s nothing to be found, and members of the audience are specifically asked not to take pictures or share them online so as not to ruin the magic of the production.
The suspense of not knowing certainly paid off, because My Neighbour Totoro is one of the best things I’ve seen at the theatre in a while. Showing at the Barbican for only 15 weeks, this is the play’s global premiere, and I’m sure it’ll be showing across the world hereafter. Of course, adapting Studio Ghibli’s 1988 classic to the stage is no easy feat, but the “awws” and delighted applause from the audience was a clear indication that everyone, whether they were 5 or 50, loved the performance.
My Neighbour Totoro is one of Studio Ghibli’s (a Japanese animation studio with a cult following) most popular movies. Created by Hayao Miyazaki in 1988, it tells the story of two girls that move to the countryside outside Tokyo while their mother is sick in hospital, where they befriend a huge, furry forest spirit called Totoro. Although Totoro itself is probably the highlight of the story (for me, at least) it also includes many other wonderful oddities like a cat-bus and two cute, smaller forest spirits. The play barely deviates from the movie in terms of plot, which is brilliant if you already love Totoro as much as everyone in the audience seemed to. I’m sure, however, that someone who had not seen the movie beforehand would still be able to appreciate the skill that went into creating this play.
My Neighbour Totoro is worth going to see even if it’s just to marvel at the fantastic use of props and the simple yet effective set. One of my biggest questions before watching the play, aside from the obvious “How are they going to recreate a massive furry forest spirit?” was whether the play would be able to imitate at least some of the delicate imagery and backgrounds possessed by all Studio Ghibli movies. However, the RSC’s creative team were able to capture this magic in all elements of the play, and I was seriously impressed by the use of the set and props to create different environments. The performance is also accompanied by live music from the original composer Joe Hisaishi, which once again adds to the creation of a magical fantasy world.
The actors themselves are similarly wonderful, and a special mention certainly must go to the production’s eighteen puppeteers, who manage to playfully be a part of the performance instead of just faceless figures on stage. The only critique I would have is that a central character, four-year-old Mei, is played by an adult; I definitely found it unnerving at first but the rest of the production made up for it.
Speaking as someone who grew up watching Studio Ghibli movies, Totoro really is an excellent production. You definitely feel like you’re a kid again while watching the play, which is a testament to its success. Everyone left the theatre feeling decidedly happier.
