Studio Ghibli has become a household name through its great anime movies. My Neighbor Totoro, written and directed by Hayao Miyazaki, is one of these hit films. The music is written by none other than Joe Hisaishi, and it is fair to say that My Neighbor Totoro heavily relies on the musical aspect as well as its story. When Miyazaki was approached by the Royal Shakespear Company about producing My Neighbor Totoro as a stage show, then, he agreed only on the condition that Hisaishi would be involved. This paved the road for Hisaishi and Tom Morton-Smith to adapt the movie into a stage play to be housed at the Barbican in London, UK. Can the stage keep the magic alive?
Imagine a cold evening in February in London. Upon entering the Barbican theater, there is some initial confusion as to where to go since the place is very big – but soon enough, a shop is spotted that stops patrons in their tracks as there it is: My Neighbour Totoro and other Studio Ghibli merchandise. After spending entirely too much money on show-related keyrings, hats, bags and t-shirts, it is now time to find out where to head next. The Barbican is a big place, as mentioned above, and there are posters of My Neighbour Totoro and pictures of the stage play strategically displayed throughout the building. While waiting for doors to open, it is time to have a look into the program booklet, which did cost an extra couple of pounds and holds some very interesting information. Soon enough, others notice the merchandise and start chatting, all in excited anticipation of seeing the play. Finally, it is time to go inside.
The theatre itself is very interestingly designed. It is not particularly big (as compared to a concert venue) but just about the right size so that every seat has a good view of the stage. Curtains are still closed, with a big screen on stage that reads ‘My Neighbor Totoro’. After waiting a bit longer, the orchestra can be heard tuning their instruments… It is almost time!
The play starts with the iconic intro song ‘Hey Let’s Go’, played by an orchestra and sung by Ai Ninomiya, who has a beautiful voice. The first verse is in English, and she then switches to Japanese, which keeps the immersion alive and is a recurring theme for songs sung throughout the play. Looking back at the screen, a little ‘u’ makes its way down to the word ‘Neighbor’ and squeezes in to create the British English version of ‘Neighbour’, which very much amuses the audience. During the rest of the intro, little bugs can be seen walking across the screen, similar to the beginning of the movie. The curtain finally opens, and the play begins.
It is difficult, if not impossible, to describe the magic happening on stage from here on out. The orchestra is positioned at the back of the stage on platforms within the trees, and a circle in the middle of the stage that can turn helps to change the stage in seconds. The stage can be anything: a road with fields in the background, the new haunted house, the hospital, the great tree, a forest…all with the help of a crew of incredible stagehands. The play is wholesome, funny, sad, and uplifting… A whirlwind of impressions that rain down and bewitch the audience, both children and adults alike.
The music is fantastic. Hisaishi reinvented the songs and themes without them losing their magic and the orchestra does an incredible job portraying the feelings conveyed by the sounds.
Human characters were cast incredibly well, such as Satsuki, Mei, their parents, as well as Kanta and his family, and anyone else in the village. Sometimes, a stage hand jumps in for a small role, which was very well done and created good deal of comic relief. Anyone else, such as animals, are portrayed by puppets played by incredible puppeteers. These puppets went through the hands of Jim Henson’s Creature Shop and are accordingly expressive! The soot sprites are adorable, and so are the chickens and the dog, while the goat is as scary as it is portrayed in the movie – it is truly a mastery of puppet creation and puppeteering that is sadly less and less common to see nowadays. Of course, then there is Totoro himself. There are the small Totoros, which are portrayed in a hilarious way when playing hide-and-seek with Mei, and finally, there is the big Totoro – the reveal everybody had been waiting for.
Without giving too much away, the Totoro puppets are amazing. It is unbelievable how expressive they are, considering the size of them! In fact, these puppets are made and move so amazingly well that losing immersion is basically impossible. Another mention has to be made about the Catbus. It will not be given away what it is like here, but it is truly a sight to behold! Even the glowing eyes are there – absolutely amazing.
Throughout the play, there are surprises, astonishment, laughter and tears. The portrayal of the children missing their mother but trying to stay strong, their adventures with Totoro, and their disappointments and fears are portrayed so life-like that it is fair to assume most people could relate to these very human emotions.
The depiction of 1950s Japan is very well accomplished, and even though the play is in English, the odd Japanese phrase is thrown in when appropriate, such as ‘Itadakimasu!’ before starting to eat, or Mei crying out for her ‘Onee-chan’. This truly supports the immersion that is palpable throughout the acting, music and stage design.
My Neighbour Totoro may appear to be aimed at children, but in today’s world it seems everybody could use a little bit of wholesomeness, which this play definitely delivers. When trying to describe the play, only one word comes to mind: Magical. Even this does not seem to do it justice. Every single aspect, be it acting, puppeteering, staging and music, works together in beautiful harmony to create an unforgettable experience.
