Returning to The Playhouse for the 11th time, Kneehigh Theatre bring their new adaptation of The Tin Drum to the Quarry Theatre where LEO OWEN caught the show

Known for incorporating music and dance into their shows, Kneehigh don’t disappoint in the opening of their ambitious adaptation of Gunter Grass’ epic novel, The Tin Drum. Like the novel, the story of Grass’ obsessive protagonist is told in retrospect but moves away from its first person narrator to an on-looker recalling his story, exulting Oskar to a God-like deity.

Folk song and dance is interrupted by the explosion of a bomb, accompanied by the warped fairy-tale words "Once upon a war", matching the innocence of the puppet child appearing on stage. As a hero, Oskar is spoilt and deluded but Kneehigh make him funny nonetheless, by utilising another actor (Bettrys Jones) to comically narrate the bitter internal monologue of the infant Oskar.

His history is told in slapstick style from the conception of his mother to his coming-of-age. Mini puppets are used to depict the meeting of Oskar's grandparents, pig-nosed police officers are on the chase and wheeling staircases emphasise the chaos of the scene. The growing love between Jan Bronski (Dmon Daunno) and Oskar’s mother, Agnes Bronski (Nandi Bhebhe), is amusingly presented through a montage of their meetings and Bronski’s laughably pained complaint: "My people are condemned to live a life of romantic impossibility". Nicely contrasting with Bronski’s hopeless lover, is the functional Alfred Matzerath (Les Bubb), Agnes’ husband, whose ordered life has its own clunky theme tune. Other particularly funny nice touches come in the form of a vocal devil puppet, acting as Oskar’s temptress; the arrival of the new housekeeper Maria (Jones) and the depiction of Oskar’s half-brother.

Designer Malcolm Rippeth’s multi-levelled set is simple but effective unlike Charles Hazelwood’s music. Transforming an exceedingly long, at times waffly, novel into an engaging piece of theatre is no mean feat but by introducing Hazelwood’s music, writer Carl Grose goes some way to succeeding. More of a musical, Grose’s adaptation dramatically edits the original 500 plus page novel and takes liberties with some plot/character details. Hazelwood’s music captures Oskar’s unnerving tale by combining mock operatic vocals with folk music, dirges, church choir song and catches to create something beautiful but disturbing. Vocals range from haunting to inaudible and occasionally tuneless, partially the result of actors playing multiple parts and the unique mix of musical styles.

Like the Grimm Brothers, Kneehigh often favour dark subject-matter, injecting their own original black humour and energy – both qualities much needed to make Oskar’s life easier to digest. Their trademark puppetry is perfect to present the stunted Oskar and their contrast of humour, war and the absurdities of Oskar’s life combine to create an unnerving but highly engaging show. A harrowing modern fable, Grass’ Tin Drum has divided readers and Knee High’s reimagining is likely to follow suit.

The Tin Drum stopped at The West Yorkshire Playhouse October 17-28 before continuing its UK tour: http://www.kneehigh.co.uk/show/the-tin-drum.php?gclid=CjwKCAjwmqHPBRBQEiwAOvbR8wy9WyWlbFS4d2_oWhEjkgazd-ve8DuJk02GQag6sFZFN3pzW9OSlxoC1JIQAvD_BwE