Winnie the Pooh: The New Musical Adaptation (UK/Ireland Tour)

Winnie The Pooh is the UK musical that lasted from March 17th to September 2nd in 2023 based off of Winnie the Pooh: The New Musical Adaptation created by Jonathan Rockefeller and Rockefeller Productions.

on August 24th 2022 the new instagram/facebook/twitter accounts of the uk production made the shows announcement and then a few months later on November 4th they had a special event at one of the UK Disney stores to talk about the upcoming production with show creator Jonathan Rockefeller, and revealed the venue of the first couple of performances that would take place in the span of 4 months before leaving on a UK and Ireland tour being at the Riverside Studios, they also revealed the Jake Bazel (who had previously played pooh in the original run of the show) would be coming back to reprise his role as the silly old bear for the riverside shows. on January 31st 2023 they revealed the cast list of the riverside production and the tour. then on February 21st in honor to promote the musical they invited a couple of winnie the pooh fans and went over to Ashdown Forest in East Sussex, England the real inspiration for the hundred acre woods. they went to the pooh corner shop, had a photoshoot and played pooh sticks on pooh sticks bridge, and then had a giant tea party in the Ashdown Park Hotel. on March 17th the musical finally debuted at the riverside studios, and on March 26th the musical had a special gala day where there was food drinks and live music after the show along with the chance to meet the whole cast, the musical would continue to stay at the riverside studios until May 21st. then on May 31st the musical started its UK and Ireland tour at the Mayflower Theatre, with the tour coming to a close on September 2nd at the Everyman Theatre.

Information About The Show

We met Jonathan Rockefeller – the Creator and Director of Disney’s Winnie the Pooh; the new musical stage adaptation coming to our Donald Gordon Theatre from 3 – 5 August.

Hi Jonathan. It’s a pleasure to meet you and find out more about the new musical stage adaptation of Disney’s Winnie the Pooh. Have you always been a fan?

Jonathan: “I first saw the cartoons before I was able to read, then as I grew older, I really enjoyed reading the stories. To this day, they remain some of the best pieces of literature and the Disney animations are wonderful, so it’s been a challenge and an honour to bring these characters to the stage. I’m especially excited for him to be back home again, on the London stage and stages around the UK. It’s going to be fantastic to present Pooh in his homeland."

Why do you think tales about Winnie the Pooh are still so beloved?

Jonathan: “I think it’s because the characters and the stories tap into the child in all of us. They’re just finding their way and exploring the world, and a lot of what happens comes from their misunderstandings or trying to wrap their heads around things. The world that A.A. Milne created is all about imagination and the wordplay he created is something we have a lot of fun with in the show.”

Is this new musical adaptation aimed at children?

Jonathan: “It’s not just for kids. In New York, we saw many adults coming along to see it by themselves. What’s great about the show is that it’s accessible on so many different levels. Very young children will love it, while older children will enjoy the jokes and the wordplay and for adults it’s like being wrapped up in that wonderful nostalgia that we all have for these characters. It’s an experience of complete joy. It’s such a heartwarming show and that’s something which in today’s world we all need.”

How did you pick from the many books and screen stories for this 65-minute adaptation?

Jonathan: “What’s wonderful is that we’ve been able to take A.A. Milne’s brilliant stories, Disney’s great animated featurettes and fantastic songs, and mix it all up into a new show. So even if you are incredibly familiar with all those aspects, it’s all in a completely new context. We’re paying respect to the author, the animators and the Sherman Brothers songs but putting our own spin on it.”  

Tell us about the puppets!

Jonathan: “The puppets are so tactile. They’re like giant articulated plush toys. The puppeteers in some ways are like Christopher Robin in that they play with the characters and make these stuffed animals come to life.”

“All the puppeteers, not just the ones playing Pooh, have to be really talented at nuancing the characters and making sure they convey emotions, thoughts and feelings. The performers are essentially athletes. There’s Tigger with all his bouncing energy and Pooh being brought to life as a very large puppet. Then there’s the fact that because of the Disney cartoons, we all have a fixed notion of what he sounds like, so one of the biggest challenges for the actor playing Pooh is the fact that not only do they have to be a brilliant puppeteer and an athlete, they also have to capture the spirit of the voice that we know and love.”

Why should audiences in Cardiff come and see the show?

Jonathan: “You’ll really feel part of the Hundred Acre Wood from the moment you walk into the theatre. There’ll be characters and vignettes you’re familiar with - but in a new adventure. It’s everything you know and love about Winnie the Pooh.”

When Disney’s Winnie the Pooh: The New Musical Stage Adaptation opened in New York in 2021, it broke box office records for the biggest-ever advance sales at the Theatre Row Building and was met with rave reviews – with Time Out calling the show “Enchanting!” and BroadwayWorld hailing it as “magical, sweet as honey and full of humour”. The following year, the musical played to packed houses in Chicago, returned to New York for a limited season and embarked on a US tour that began in Texas.

Now bringing it to Newcastle Theatre Royal (Mon 7 – Wed 9 Aug 2023) as part of an UK & Ireland tour, creator and director Jonathan Rockefeller promises: “It’s everything you know and love about Winnie the Pooh.” Avoiding spoilers about the staging, the acclaimed family entertainment creator says: “You’ll really feel part of the Hundred Acre Wood from the moment you walk into the theatre. There’ll be characters and vignettes you’re familiar with – but in a new adventure.”

Presented by Jonathan’s Rockefeller Productions in partnership with ROYO and Disney Theatrical Productions, the show includes such songs as Winnie the Pooh, A Rather Blustery Day and The Wonderful Thing About Tiggers, which were written by multiple Grammy Awards winners Robert and Richard Sherman for various animated featurettes and anthologies. It also has some songs by author A.A. Milne and an original score by Nate Edmondson, a longtime collaborator of Rockefeller.

Created by a team of artists, designers, patternmakers, builders, welders and fabricators, the characters are rendered as life-sized puppets that the actor-puppeteers operate themselves. “The puppets are so tactile” Jonathan says. “They’re like giant articulated plush toys. The puppeteers in some ways are like Christopher Robin in that they play with the characters and make these stuffed animals come to life.”

The creator and director adds: “What’s wonderful is that we’ve been able to take A.A. Milne’s brilliant stories, Disney’s great animated featurettes and fantastic songs, and mix it all up into a new show. So even if you are incredibly familiar with all those aspects, it’s all in a completely new context. We’re paying respect to the author, the animators and the Sherman Brothers songs but putting our own spin on it.”

Now, Jonathan has embraced the challenge of re-imagining Winnie the Pooh for theatregoers, saying: “I first saw the cartoons before I was able to read, then as I grew older, I really enjoyed reading the stories. To this day, they remain some of the best pieces of literature and the Disney animations are wonderful, so it’s been a challenge and an honour to bring these characters to the stage. I’m especially excited for him to be back home again, on the London stage and stages around the country. It’s going to be fantastic to present Pooh in his homeland.”

The New York production was nominated for a Drama Desk award for Outstanding Puppet Design. Rockefeller Productions was also shortlisted for an Off-Broadway Alliance award for Paddington Gets in a Jam. Their version of Eric Carle’s The Very Hungry Caterpillar Show currently has 14 productions playing on five continents and the company’s Sesame Street: The Musical debuted in New York last year.

As for what qualities the performers need to possess for Winnie the Pooh, Jonathan notes: “All the puppeteers, not just the ones playing Pooh, have to be really talented at nuancing the characters and making sure they convey emotions, thoughts and feelings. The performers are essentially athletes. There’s Tigger with all his bouncing energy and Pooh being brought to life as a very large puppet. Then there’s the fact that because of the Disney cartoons, we all have a fixed notion of what he sounds like, so one of the biggest challenges for the actor playing Pooh is the fact that not only do they have to be a brilliant puppeteer and an athlete, they also have to capture the spirit of the voice that we know and love.”

The task of capturing the beloved bear’s movements, emotions and voice falls to Benjamin Durham. Whilst in training his credits included Ragtime, Cats and She Loves Me, and since graduating he was in the ensemble of Young Frankenstein in Frankfurt. This is his first professional leading role. “And what a brilliant role it is,” Benjamin enthuses. “He’s such an iconic character so these are big shoes – or big paws – to fill but I’m excited.” He smiles. “A little bit nervous, too, of course but mostly I’m excited.”

Like Rockefeller, the young actor also grew up with the AA Milne stories and Disney cartoons. “And my mum even had a Winnie the Pooh mug. I’m sure everyone at some point in their life has met this little bear with, as he himself claims, very little brain but a very big heart. In the show, that’s very much how he is portrayed. You see the joy and the beauty of the world he lives in, in Hundred Acre Wood, and life there through the lens of his sweetness, kindness, generosity and love.”

Can he relate to the character in any way? “Hopefully I have a bigger brain,” Benjamin laughs, “but his kindness and wanting to help other people is something I try to emulate in my life. I don’t know if I do it as well as the little bear does but I try my best.”

Does puppeteering Pooh present any challenges? “It’s a physical challenge because the puppet is pretty big but it’s a really interesting way of telling the story and bringing the character to life. There’s a certain level of physicality and stamina that’s required, so it’s about looking after yourself, stretching, working hard and being sure to take breaks during rehearsals.”

Not only is this his first leading role, it’s also his first time touring in a show. “Again, it’s exciting and I can’t wait to take it to different audiences in different parts of the country. The themes are universal wherever you go. I hope audiences will take the themes of kindness and generosity to their hearts and the love that Pooh has for his friends. In the first scene in our show, he says to Piglet ‘It’s a good thing to be different, otherwise we’d probably all be the same’ and that theme of just being yourself is also so relatable now.”

The actor is interested to note that Milne wrote the stories for his son Christopher after serving in the Army in the First World War. “The country was reeling from something no-one had been through before and was still readjusting to some sort of normality again. The stories were about stripping everything back to the concepts of kindness and generosity, which is a message that resonates just as much today.”

Rockefeller agrees, adding of why tales about Winnie the Pooh are still so beloved: “I think it’s because the characters and the stories tap into the child in all of us. They’re just finding their way and exploring the world, and a lot of what happens comes from their misunderstandings or trying to wrap their heads around things. The world that A.A. Milne created is all about imagination and the wordplay he created is something we have a lot of fun with in the show.”

It is, he feels, the perfect family show. “It’s not just for kids. In New York, we saw many adults coming along to see it by themselves. What’s great about the show is that it’s accessible on so many different levels. Very young children will love it, while older children will enjoy the jokes and the wordplay and for adults it’s like being wrapped up in that wonderful nostalgia that we all have for these characters. It’s an experience of complete joy. It’s such a heartwarming show and that’s something which in today’s world we all need.”

Aladdin to The Little Mermaid, Mary Poppins to Frozen, and Tarzan to the Hunchback – stories from the world’s most extensive entertainment provider for families have often come with a seal of quality, extravagance and a guarantee of a solid experience. But Disney’s latest embarkation into stage adaptation is one of high anticipation, as A.A. Milne and The Sherman Brother’smuch beloved Winnie the Pooh shifts to a stage musical in a familiar, though in some ways too distant musical experience.

The tummy-rumbling short and stout Pooh bear speaks to generations across cultures and nationalities. However, communicating with the audience seems to be the bee in the proverbial bonnet for this musical production. Audio is somewhat muffled and lost amidst the score, and though orchestrated charmingly, some of the character’s dialogue becomes clouded in the ambience and lowered volume and projections of the show.

There is no question about the aesthetical design and admirable intentions behind the seams of this puppetry and physically focused storytelling experience. The design of every character is superb and stitched and manipulated to a fine quality. Recognisable, but with a distinction to avoid being carbon copies of the cartoon-variants, The Rockefeller Productions (with Disney Theatricals) crafts a sumptuous Pooh Corner which shifts in shades of azure and purples to evoke an all-together wonderfully looking production which traverses the weather as Pooh is on the hunt for, what else, but Honey and Christopher Robin.

Working the four-foot puppet of the titular Pooh, Benjamin Durham has the skill and determination to carry much of the production – and it’s near impossible not to erupt into a large smile the moment the world-famous bear ploddles onto the stage for a lovely rendition of ‘A Rather Blustery Day’. There’s a struggle with diction and projection here; one which Sterling Holloway (Kaa from The Jungle Book) and later, the magnificent, Jim Cummings (practically all of your childhood favourites) managed to evade. While Laura Bacon turns in a timid, though still strong-hearted and determined Piglett, often cast to the winds with an adorable kite, fluttering around Harry Boyd, Chloe Gentles, and Lottie Grogan as ensemble characters, Kanga, Roo and the all-too-relatable Rabbit.

The essence of the show, or what it could have been, is captured in Robbie Noonan’s Tigger – which grasps Paul Winchell’s exemplary blustering and forward-throated delivery while instilling a wobbling, bouncing physicality to the show. As too does Alex Cardall, with the lackadaisical and sombre Eyeore, switching to the starchy Owl with relatively quick scene changes.

The warmth is initially there for the nostalgic, but it’s difficult to maintain throughout the story which borrows elements across the One-Hundred Acre Wood Library. The charm, whimsy, and appeal of the red shirt-wearing Pooh has always been the simplicity and earnest connection forged with young (and older) audiences. And regrettably, it’s not entirely here. There’s a clear worry that relaxing or taking things slowly may distract the younger audiences – but that was always the strength of the original; allowing audiences the opportunity to unwind and breathe.

This willy-nilly silly old bear will always ignite happiness for audiences, and so too will this musical adaptation in ways. In scale, Winnie the Pooh is a touch too intimate for a large venue such as the Festival Theatre, though its draw will no doubt accommodate the larger ticket sales. There is heart, there is enjoyment and well-intention, but the magic of the storybook, the films and the animated series doesn’t quite reach the stage in the show’s current incarnation. Winnie the Pooh: The Musical will undoubtedly keep the attention of younger audiences, and those close to the stage likely have an engrossing time, but for those a few rows back, there may just be a touch too much of a detachment from the world’s favourite bear to truly spark the magic required.

The beloved characters, some wonderful puppetry and a wholesome dose of warmth. Winnie The Pooh arrives on stage in a new musical adaption that tours the UK and Ireland after playing an off-Broadway run and in London at the Riverside Studios. The show currently plays in Nottingham at the Theatre Royal.

As you enter into the auditorium you enter the colourful world of the Hundred Acre Wood. You are instantly struck by the colour palette and the recognisable world created by AA Milne. On the stage there's Pooh Sticks Bridge, Eeyore's stick house and Rabbit's vegetable patch. It really does feel like you are stepping into the world of Disney's cartoons.

With the show aimed at the younger ones it's not the most complex of plots, nor does it need to be, the premise is that Pooh is alone for the day as Christopher Robin has gone to school and he begins a quest for some of his beloved honey. Along the way of the search, Pooh encounters all his friends and all the seasons of weather and a series of mishaps.

The story is embossed with songs by the Sherman Brothers which are bright and cheerful and showcase the characters in a great way. These aren’t big razzle-dazzle songs these are cleverly weaved character-driven numbers. The stand-out song coming from Tigger's 'The Wonderful Thing About Tiggers' that anyone familiar with the Disney cartoon will know that "he's the only one".

The characters are brought to life through puppets which are attached to the performers. It's a wholesome way to stage the show because it's a joy to watch both puppet and puppeteer as they interact together and with their fellow company members.

It's no mean feat to manage to convey these characters both through the puppets and through voice work. Central to that is Benjamin Durham’s Pooh. Durham’s performance is superb and he nails every beat of the characters physicality and vocally he pitches the voice just right.

The company are all supreme puppeteers and performers who rotate their roles at different performances. At the performance I attended in Nottingham the bouncy infectious energy of Tigger was captured tremendously by Alex Cardall, Harry Boyd switches seamlessly between Rabbit, Owl and as melancholic Eeyore, Laura Bacon plays Piglet with the right air of anxiety whilst managing to be super sweet. Bacon also playfully characterises Roo with Chloe Gentles playing Kanga.

The slight disappointment in the performance was the sound, the lack of volume made it difficult to hear lines being said often meaning things were a little lost. Undoubtedly there’s a fair bit of noise from a young audience but a little more volume from the stage would have amplified the show better.

The show runs for an hour and some scenes do slightly linger on a little longer than necessary but there’s a lot of engagement, particularly as characters first enter which is really warming to be surrounded by as you hear the audible gasps from children (and possibly some adults!).

There is plenty for all ages to enjoy from the show, and it would be a great gateway into attending the theatre for younger ones. There’s a lot of nostalgia for the older ones with a great mixed age audience in attendance.

You can’t help but enjoy a visit to the Hundred Acre Woods and seeing these classic characters brought to life. It will make you long for your childhood and see joy in the youngsters. You leave the theatre feeling all warm inside.

Winnie the Pooh is an hour-long stage show based on the beloved book and characters created by A A Milne.

Set in the 100 Acre Wood, Winnie the Pooh (Benjamin Durham) is looking for his best friend Christopher Robin. Christopher usually brings Pooh some honey but left to his own devices, the bumbling bear has to sniff some out for himself.

As you would expect from Disney, there is a lot of detail to the production. It's not an over-the-top musical extravaganza like The Lion King but a more gentle play with short songs- aimed at a much younger audience. All of Pooh's friends get their grand entrance- the appearance of Tigger being a particular high point for many. My personal favourite puppet is Eeyore (played by Harry Boyd) who has the best comic timing accompanied by deadpan expression.

The audience response is a bit mixed with the children with mostly positive gasps and gleeful giggles but the occasional scream of sheer terror.

There's no real peril to be had here. Pooh gets into various scrapes and sticky situations in his quest for honey, a thoughtless Tigger trashes Rabbit's prize garden and Pooh finds himself wedged in a tree trunk. It's all very mild and the short run time means it manages to hold the attention of the little ones for the most part.

All of the puppeteers do an excellent job and you very quickly focus on the characters rather than the humans standing behind them. There are a lot of nods and references to beloved storylines, the game of 'pooh sticks' and blustery days. I was touched to hear someone in the audience singing along (word perfect) to 'The Wonderful Thing About Tiggers' - until I realised it was the 29 year old I had brought with me...

It's not quite the assault on the senses that many musicals aimed at a younger audience are and makes for a wonderfully gentle introduction to live theatre.

The hotly anticipated UK production of the new musical adaptation of Disney's Winnie the Pooh has arrived in London at Riverside Studios. This charming new stage show takes us on a series of whimsical adventures with the well loved characters created by A.A. Milne including Christopher Robin, Winnie the Pooh, Piglet, Tigger and Eeyore.

Disney has been making popular family friendly stage musicals for many years now, including The Lion King, Mary Poppins and Frozen. However, this new show is targeted for a younger audience and at around 65 minutes, keeps the young audience entertained throughout.

Told through a series of vignettes, we follow Winnie the Pooh as he interacts with his many well loved friends on the search for honey, which Christopher Robin forgot to leave when he went to school.

Other than Christopher Robin, every character is portrayed by skilfully designed puppets from Rockefeller Productions. Each puppet had been thoughtfully created to capture the personality of each character. Eeyore with his trademark melancholy, Tigger full of bouncy energy, and Pooh as the slightly naive but ever loveable bear.

The talent of the puppeteers is a highlight of the show; Jake Bazel as Pooh himself is superb. He perfectly captures the voice of the silly old bear whilst manipulating the fantastic puppet. Alex Cardall gives three fantastic performances as Eeyore, Rabbit and Owl, characterising each individual performance spectacularly.

The Sherman Brothers' songs from the popular film series feature throughout including the titular "Winnie the Pooh" and the bouncy fun "Whoop De-Dooper Bounce" in which Tigger shares his exuberance with others.

The set design takes us to an idyllic scene within the hundred acre woods which delightfully captures the world created in the world of A.A.Milne's story and E.H. Shephard's illustrations. The scene changes with small details, such as falling leaves, snow or spring flowers as we travel through Spring, Summer, Autumn and Winter.

This new stage show is full of of heartwarming and wholesome joy. It will be enjoyed by many - from first time theatre goers to big kids of all ages!

Winnie the Pooh is at Riverside Studios until 21 May, then touring

The Hundred Acre Wood has rarely looked so bucolic as in this lovingly crafted adaptation of A A Milne’s classic creation, and the subsequent Disney version, which arrives in the UK following its Off-Broadway premiere in 2021 (but we won’t hold that against it).

The production knits together three adventures that see Pooh and his band of friends get into mild scrapes while waiting for Christopher Robin to return from school. It also features Sherman Brothers ditties including “The Blustery Day,” “The Wonderful Thing About Tiggers” and “Whoop-De-Dooper Bounce”.

The stories take us through the seasons, marked by flying leaves and snow (and also facilitating an unexpected Game of Thrones reference when Pooh announces “winter is coming”). There is kite-flying, vegetable patches, and of course honey aplenty, all presented with the gentle whimsy that is so central to the world of Pooh.

Characters are half life-sized; they resemble large stuffed toys, puppeteered by hands and feet. It’s like the (mandatory) merchandise stall in the foyer has come to life. The puppets, designed by a team at Rockefeller Productions, steered by creator-director Jonathan Rockefeller, capture the sense of beloved raggedy toys.

Key to the show’s charm is the performance of longstanding star Jake Bazel, who created the role in New York and gives a note-perfect delivery of Pooh’s melodic, southern drawl. He is supported by an able ensemble of actor-puppeteers who also bring impressive vocal life to the likes of Eeyore, Owl, Tigger, Kanga, Roo, Rabbit and Piglet. Although the mix of American and English accents may jar for some, it seems a suitable nod to both Milne and Disney.

I’ve never in truth been a huge Pooh aficionado, finding its nostalgic world a little too remote and saccharine for my palate. But I recognise a well-crafted homage when I see it, and in a theatre landscape awash with productions based on kids’ TV shows, this feels refreshingly aligned with its literary roots, a show that truly spans the generations.

Some of its stand-out moments are also its quietest. The selection of Pooh’s famous ‘hums’ (scored by Nate Edmondson), Eeyore stopping to admire a butterfly, or Christopher Robin – when he finally gets back from school – embracing his imaginary creation. Although it may not leave you rolling in the aisles, it should certainly help you shed the last vestiges of winter blues. Right now we could all do with a little more Pooh.

Winnie the Pooh: The New Musical Adaptation is a whimsical story of the iconic titular character and his best friends Piglet, Eeyore, Kanga, Roo, Rabbit, Owl, Tigger and of course, Christopher Robin. As Pooh waits for Christopher Robin to return from school, we follow his journey through the seasons as he goes on an adventure to find honey. Produced by Disney Theatrical Productions, the show has transferred from Broadway and now is showing at the Riverside Studios in Hammersmith before heading on an UK and Ireland tour - perfectly timed for the summer holidays.

Billed as a musical, the show would be better described as a play with songs. From the minute you step into the studio, you are surrounded by the sounds of the Hundred Acre Wood and this soundscape continues through the use of music. Classic songs such as 'Winnie the Pooh' and 'The Wonderful Thing About Tiggers' feature and these ditties are enjoyable but they do not move the story on and instead serve as a way for the characters to sing and interact with their friends.

Brought to life by almost life-sized puppets, the story pieces together snippets and songs from classic Pooh stories. The friends meet a snowman called Mrs Winter, Piglet gets blown away after becoming tangled in a kite and Pooh gets stuck in a tree hunting for his favourite food: honey. Interspersed with thoughtful and philosophical lines, the show is adorable and fun. One particular highlight is when Tigger sings ‘Whoop-De-Dooper Bounce’ whilst teaching a bouncing lesson. Tigger (Robbie Noonan) is a certainly a standout and he really brings the energy. Christopher Robin only features in the last ten minutes of the show, which brings a happy conclusion to Pooh’s waiting as the next adventure begins.

The puppets are simple but effective. The design allows the actors to effectively capture the characters’ personality. The larger characters Pooh, Tigger and Rabbit are attached to the actor’s feet and Eeyore’s mouth is cleverly operated by a lever on the top of his furry head. Central to the success of the show is the actors ability to imitate the iconic voices of the characters. The cast is led by Jake Bazel, whose portrayal of Winnie the Pooh boosts the show’s charm. His ability to mimic the bear’s iconic voice is exceptional. The vocal talents of all the cast must also be applauded, Eeyore (Alex Cardall) and Tigger in particular, although the choice to have a mixture of British and American accents is a little distracting at times.

The cuddly characters certainly appeared to captivate the imaginations of the young audience members which is evident by the surprisingly quiet auditorium. The occasional immersive moments: autumn leaves and snow falling from above and the moment when Eeyore remarks to a child on the front row “are you my house?” help to sustain their attention.

Winnie the Pooh is a straight forward show and there is definitely space for further development, which could be achieved by drawing on the wealth of Winnie the Pooh stories. However, taken at face value, Winnie the Pooh is 60-minutes of wholesome fun, perfect for children.

A nostalgic, warming and brilliant introduction to live theatre for children...it is definitely worth a watch.

INSPIRED by the beloved books by A.A. Milne, Winnie the Pooh: The New Musical Stage Adaptation opened yesterday at Mayflower Theatre in Southampton. And what a joy it is!

From the moment we set foot in the auditorium, we are transported deep into the Hundred Acre Wood - with the sounds of birds chirping, and a set that looks like it has been brought to life directly from the pages of a storybook.

Benjamin Durham captures the loveable persona of Pooh perfectly - his facial expressions, mannerisms and tone of voice are superb, and Robbie Noonan brings a never-ending vigour and energy to audience favourite, Tigger, just as you would expect.

For our showing, the roles of Piglet and Roo were played by Lottie Grogan, and Kanga was played by Laura Bacon, who both bring a charming innocence to their characters in every scene they’re in.

Harry Boyd is absolutely delightful in his portrayal of the slightly downtrodden and pessimistic Eeyore, who seems to appeal to the adults in the audience a little more than he should.

And, if that wasn’t enough – he turns in an equally expressive performance as wise old Owl, and Rabbit too! Not an easy feat.

The score features snippets of many of the Sherman Brothers' much-loved songs from the Disney cartoons, including Winnie the Pooh, The Blustery Day, and The Wonderful Thing About Tiggers.

Running at a little over an hour long, the show is perfectly timed to hold the attention of little ones - attested to by most of the children in the audience, including the three who accompanied me.

We were all completely entranced by Rockefeller’s beautifully crafted life-size puppets, and their human counterparts didn’t seem to distract from the magic of the show at all as we followed Pooh on his journey for honey.

Winnie the Pooh the classic story for children around the world, famously illustrated by E.H Shepard and written by A.A Milne. Most if not all children across the decades seem to know of the book and of course the Disney animated film and series. This was proven at the recent viewing of Disney’s Winnie the Pooh: The New Musical Stage Adaptation, as adults proudly wore t-shirts and outfits resembling the renowned yellow bear himself.

Disney’s Winnie the Pooh: The New Musical Stage Adaptation is a beautifully written stage performance for the whole family. From babies, young children to adults, the audience were captivated through colours, song and dance whilst being taken on an adventure through the Hundred Acre Wood showcasing A.A. Milne’s beloved characters. The characters masterfully being brought to life using the incredible puppetry work by Rockefeller Productions on the opening night at the Theatre Royal Nottingham on Wednesday 28 June.

The production cleverly portrays the famous characters of Disney's iconic Winnie the Pooh, Christopher Robin and their best friends Piglet, Eeyore, Kanga, Roo, Rabbit, Owl and Tigger. While also featuring the Sherman Brothers' classic Grammy Award-winning music alongside them.

Designed and built by the team at Rockefeller Productions, the huge puppets are moved by the actors themselves, which in itself is a hard task to do whilst also resembling the original voices we all know and love from the Disney original piece.

Inspired by Disney's original character designs, and Christopher Robin's real-life counterparts, each larger-than-life size character 'full of fluff', covered in fur (or feathers) has been built lovingly many times over to get their look and movement just right.

Special mention must be given to the actor and puppeteer who played Tigger, Alex Cardall, who made the older audience chuckle with his wit and enthusiasm to recreate such an iconic character. Alex’s voice acting seemed to match the beloved voice of Paul Einchell from the original Winnie the Pooh film in 1968.

My little girl was mesmerised the whole sixty minutes of the production, sixty minutes I must add was a great amount of time for the little ones to stay interested and amused. Heart warmingly fun and nostalgic, the stage adaptation has it all. Definitely one to watch with the whole family.

The Theatre Royal Nottingham from Wednesday 28 June to Saturday 1 July 2023 in Disney’s Winnie the Pooh.

Forever isn’t long at all, but Saturday is even closer… but until then it can be just we, Winnie the Pooh and you! The 100 acre wood is here in Theatre Royal, Nottingham and until 1st July you can join a grand adventure too with Christopher Robin, Winnie the Pooh, Tigger, Piglet, Rabbit, Kanga, Roo and Owl.

This truly is a wonderfully nostalgic show which is as warming as a Pooh bear hug itself and a sentimental wave to your childhood. It’s cosy. It’s beautiful. It’s simply charming.

Now, do keep in mind that this is a family show and with that comes the audience distractions, but I often find that because a family show has constant rustling, crying, laughing, and one word cheers from audience kids (like TIGGER from over half of the audience when the wonderfully bouncy and incredibly energetic Tigger puppet entered stage left) that it actually becomes less distracting than when there are distractions in a show for adults where etiquette should be adhered.

The set is a permanent fixture with the addition of a few on-stage props to help complement the story of the seasons changing throughout the year. It’s a welcoming set design which really brings the iconic 100 acre wood to life, complete with the tree with the honey stash where Pooh bear, of course, got stuck!

The puppets are expertly crafted, perfect for the little ones who will relish in the make believe of it all. My nearly 2-year-old loved seeing them on stage and calling their names out and waving, whilst I enjoyed admiring the sheer craft that went in to them. I thought the voicing was fantastic, close enough for the children to fully believe it and close enough for us adults to start to ‘forget‘ the actual iconic voices. The score will bring you some of your favourite Pooh songs, such as ‘The Wonderful Thing about Tiggers’ and ‘Rumbly in My Tumbly’, both performed wonderfully by the cast.

The storyline moves along enough to keep children interested for the 65 minute no interval production. Winnie the Pooh, Piglet and Tigger spend the most time on stage and just as in the movies, bring a wonderful balance to one another. There’s bees that buzz, a snowman that gets dressed up, a kite that soars and, of course, the meeting of Rabbit, Owl, Roo and Kanga.

The ending is truly lovely and so touching. I can honestly say it brought a tear to my eye, which hit right in the feels after watching Ines be so immersed in the whole thing, getting involved, pointing and waving. She really does love the theatre anyway, but this has been one of her favourites so far and I’m so pleased that it’s a Disney one that she’s loved!

How exciting that Pooh and friends had so many visitors coming to see them from Mrs Winter to Mrs Spring and, perhaps maybe even you might have some honey for Pooh?

There’s no denying it: Winnie the Pooh is a global icon. Especially the Disney version of the bear, beloved by people of all ages around the world. It’s reassuring therefore that this stage musical is without doubt aesthetically perfect and an absolute joy to watch.

It’s a highly polished production, totally up to the Disney standards it reflects. From the moment you enter the auditorium you are immersed in the beauty of One Hundred Acre Wood. Crickets chirp and birds cheep in a calming, enchanting atmosphere. The design work is gorgeous and comfortingly familiar, from the exquisitely constructed set to the light, sound and terrific music. And then, of course, there are the outstanding puppets… You really will want to take them home.

Anticipation fills the air as the audience of largely tiny spectators and their families await the arrival of the celebrated golden bear and they’re truly not disappointed. He and the other stunning, full-sized puppets are beautifully crafted. They reproduce the toys from the story in a range of texturally diverse fleeces, fabrics and furs that just beg to be squeezed and are cleverly structured to be performed with amazing vitality.

The characters are totally delightful and completely authentic, performed by an enormously dynamic cast, some of whom manage multiple characterisations with skill. Pooh bear himself is a gorgeous honey-coloured delight, enacted with joyful exuberance by Benjamin Durham. And the audience love him: an audible gasp goes up as he takes to the stage.

But they’re all here – all your favourite friends, alive before your very eyes and just like the originals! Pooh is accompanied by an adorable Piglet, performed (appropriately!) by Laura Bacon, who gives a sensitive vulnerability to the little porker. Impressively, she also brings Roo to life in a completely different but equally charming characterisation, played alongside a wonderfully warm Kanga from Lottie Grogan. There’s a bit of show-stealing by Harry Boyd as the delightfully morose Eeyore, appealing beautifully to the audience with big sad eyes, before Tigger, played with vigour by Alex Cardall, bounces on to the stage to raise the roof, with everyone applauding and cheering. The story is further illustrated by additional lovely puppetry of creatures in the wood, and a magic moment that see Pooh sticks travelling along the river!

It’s a carefully paced, active production that keeps the young audience hooked; breaking up the scenes with some terrific songs that are all familiar from the original movie or adapted from AA Milne’s book, and great for a singalong. We hear all the classic sayings that we know so well, and there are some magical, exciting surprises to mark the changing seasons with fabulous impact. I so want to tell you more but it would spoil it. Go see for yourself!

This is a treat of a show for the young and the young at heart. It delivers touching messages of friendship and acceptance with wonderful, larger than life fun, and celebrates imagination and playfulness. It’s a fabulous family day out.

It is fair to say that any musical or play based around A.A Milne’s many tales of Winnie the Pooh has a high standard to meet. These whimsical, enchanting and funny tales are beloved around the world and contain some of the most well-known characters in children’s literature.

Winne the Pooh, the new musical stage adaptation, has many charming elements to it, but unfortunately they don’t hold together in the way that any fans of Disney musicals would wish for. The storyline is loosely based on snippets of the A.A Milne stories, but they are linked together in a clunky fashion with no real overriding narrative.

We meet Winnie the Pooh almost immediately, in the middle of Hundred Acre Wood and he is an undeniably cute puppet, brought to life with great skill by the puppeteer Harry Boyd. Winnie the Pooh is about 4ft tall, meaning that Boyd must stoop the entire time to work the puppet controls – no mean feat in a 65 minute show with no interval. Piglet is, as Piglet should be, absolutely tiny which makes for some fun windswept acrobatics, ably conducted by Laura Bacon, who spends much of the show shuffling about on her knees. There is no shortage of dedication to the cause, that much is certain.

The story begins with Pooh waiting for his best friend Christopher Robin, who has gone off to school. While waiting, Pooh gets hungry and goes off on a search for some honey – seemingly the premise of the whole show, and a suitably clear one. Instead though, we are taken through multiple excerpts from stories, a change in seasons and a series of interactions between all the characters that are very one note, and don’t really go anywhere.

The constant underscoring of the whole show with whimsical background music is probably the most frustrating element – it means that some of the character dialogue is lost and the interactions between them lack effect. It felt like a fluffy Disney ride in which you were being relentlessly pushed through the different scenes to get you out the other end, rather than watching anything of substance.

What this show really misses, however, is audience interaction. The scenes have moments that are absolutely begging for a call and response from the audience, or some dance moves, in particular Tigger’s song and arguably the high point of the show, the Whoop de Whooper, Loop de Looper, Ally Ooper Bounce. Tigger, Roo and Rabbit sing and dance their way through this number, but it could have been so much more fun if they had involved the audience. At times it seemed like they were about to do this, with a couple of throwaway comments, but they didn’t seem to go anywhere or lead to anything.

Overall this show has huge potential and could be so much more fun – Eeyore is a gorgeous bundle of squishiness with some dead pan lines, there a couple of good songs, but it lacks oomph and left this big kid feeling let down that this childhood classic hasn’t been adapted into a stellar show.

The new musical adaptation of Winnie the Pooh – which opened at Mayflower Theatre today – brings Pooh, Piglet, Kanga, Roo, Owl, and Tigger, to the stage.

Deep in the Hundred Acre Wood, a new adventure is about to begin as we join Pooh and friends on a series of charming adventures as they search for honey throughout the changing seasons.

The set design is simple but idyllic, and brings to life the world created by A. A. Milne’s stories and E.H. Shephard’s illustrations so many years ago.

And the puppets – created by Rockefeller Productions – have that touch of Disney magic that we have come to expect from our favourite ‘silly old bear’.

The talent of the puppeteers behind the characters is exceptional, and you soon forget they are behind their life size counterparts as they come alive before your eyes.

Pooh is played by Benjamin Durham, who nails, not only his performance, but also the characteristics and voice of the loveable bear, and Robbie Noonan is both infectious and energetic as he takes to the stage as Tigger, who the audience loved.

Harry Boyd gives a trio of incredible performances as Eeyore, Rabbit and Owl – so much so that I didn’t notice he was playing all three until I read it afterwards!

Lottie Grogan plays Piglet and Roo, and Kanga was played by Laura Bacon, who were both delightful in their portrayals.

Accompanying the narrative is an original score by Nate Edmondson, featuring shortened versions of the Grammy award-winning songs written by the Sherman Brothers for the original animated features, including Winnie the Pooh, The Blustery Day, and The Wonderful Thing About Tiggers.

This adaptation of Winnie the Pooh is a heart warming and wholesome family stage show, and I’m sure there will be many first time theatre-goers who will remember it fondly for the rest of their lives.

After all, who doesn’t love Winnie the Pooh, and Tigger too!

It may have been another well-known bear that got to enjoy tea with the late Queen for the Platinum Jubilee, but it’s A.A. Milne’s beloved Winnie The Pooh who gets his very own stage musical.  Having already delighted young audiences in New York, Jonathan Rockefeller’s new stage adaptation comes to the UK for a run at London’s Riverside Studios, before heading out on tour.

Milne’s characters were of course licensed by Disney, and their representation of Pooh and his companions have become the most easily recognisable, even more so than E.H. Shepard’s original illustrations.  It’s these versions of the characters that come to the stage; delightful puppets brought to life by a spirited cast.

Rockefeller’s plush puppets are gorgeous to look at, and even the older audience members may feel the urge to give them a quick cuddle, because this is a show that takes us back to the innocence of childhood, and reminds us of the importance of friendship and looking out for each other.

Christopher Robin, the only human character, makes only two brief appearances, he is after all, off to school for the day.  Winnie The Pooh finds himself hungry and in need of his favourite food, honey – or should that be hunny? So with the help of his friends; Piglet, Tigger, Kanga, Roo, Rabbit and Owl embarks on a great big adventure in Hundred Acre Wood.

Like Disney’s featurettes, Winnie The Pooh The Musical comprises several smaller stories within the main story arc.  Each one takes place in a different season, and the beautifully detailed set adapts accordingly; covered in a blanket of snow as the group search out Mrs Winter, or with flowers blooming as Spring arrives.

There are just a handful of songs, but they’re all engaging for the younger audiences, especially those written by the Sherman Brothers, bringing yet another spoonful of Disney magic to the whole production.

The puppets are aided by their human counterparts, who are visible throughout; but as is the case when puppetry is done well, the movements and expressions on the humans don’t distract, but enhance the puppets performance.  Jake Bazel, who transfers with the production from New York for the London run, captures the on screen persona of Pooh perfectly; nailing not just the mannerisms, but also the bemused like quality of Pooh’s voice.

Robbie Noonan is exuberant as Tigger, filled with unending energy, particularly during the hugely fun ‘Whoop De-Dooper Bounce’ which, much to the audiences delight also gets a reprise. Lottie Grogan’s Piglet is a real treat, especially as it’s the smallest of the puppet and requires even more dedication from Grogan.

At the opposite end of the scale, Chloe Gentles handles the life-sized Kanga with ease, while Alex Cardall has the unenviable task of portraying the downtrodden Eeyore, gregarious Rabbit and the wise Owl.

Bringing the spirit of A.A. Milne’s original characters to life, but with the familiarity of the Disney interpretations, it will come as no spoiler that Pooh finds his honey, and overindulges, just as we are allowed to indulge in this delightful treat for audiences of all ages.

Winnie The Pooh is at Riverside Studios until 21^st May, and then tours until 2^nd September, 2023.

The ever-beloved, honey-filled bear has made his way to the UK along with all his friends as Disney’s Winnie the Pooh, a new musical stage adaptation by Jonathan Rockefeller, begins performances at Riverside Studios.

The classic characters are brought to life in this production through gorgeous puppetry which astounds even the knowing adults in the room. The audience is immediately embraced into the world of Winnie the Pooh through the magical set, and the sounds of the Hundred Acre Wood flowing through the theatre. The immersion of this production is very strong, which is ideal, especially to ensure excitement among the children in the audience. However, this is not just for kids, many adults were giggling with joy as their inner child came spilling out, seeing their childhood friends come to life. It’s a truly magical experience for all.

The show follows a year in the wood, as we go from Autumn to Summer. This is portrayed effectively through set changes, with white blankets to represent snow and falling leaves for Autumn. The world changes around you and a new adventure comes with each season, along with new friends.

Rockefeller’s book is very well written, filled with jokes which land well, causing laughter in both children and adults. Little references to TV shows get chuckles and most lines land with smoothness, and humour surrounding them.

Jake Bazel is immaculate as Winnie the Pooh, he encapsulates the essence of Pooh, from his voice, his mannerisms, and his adorable stupidity. All of his lines land perfectly, and never become repetitive, even with the same joke being used many times. He brings the character to life and doesn’t leave the stage for most of the show, displaying unwavering stamina. Robbie Noonan is perfect as Tigger, truly embodying the character through the puppetry and his facial expressions. Each member of the cast displays impeccable voice work, aptly becoming the beloved characters. Their movements are also faultless, Noonan is a whirlwind on stage as Tigger. A quick favourite is Alex Cardall as Eeyore (though he also played Rabbit and Owl). His lines are delivered with excellent comedic timing and his movements are the most adorable, you soon forget that he is a puppet. Cardall has the struggle of handling three characters and nailing them all, handling three very different puppets and maintaining each character’s essence.

The puppets are perfectly built, with each one specialised to work in the way that’s best for them, with bigger puppets being attached to the puppeteer to keep them upright, and some being handled on the floor (like Piglet and Roo). Each one has its own style which makes it special, just as all the characters are special in their own way. The puppet for Rabbit did feel slightly off compared to the others, but this is quickly eradicated by Cardall’s great performance.

The music is basic, as is the plot, making it easy to follow and very much similar to the stories and films. The show features some classics like ‘The Wonderful Thing About Tiggers’ and Winnie the Pooh which evokes a childlike joy, whatever your age may be.

The show has something for everyone. Kids will love it, adults will love it, and it is certainly one to make a family trip to, especially with Easter break coming up.

Whoop-De-Dooper Bounce…

I’m sure everyone has a childhood memory of Winnie the Pooh, whether it’s the Disney film or the original books, written by A A Milne. This new musical production created by Jonathan Rockefeller uses music by the Sherman Brothers with some additional songs by AA Milne. It is a Rockefeller production with ROYO and in association with Disney Theatrical Productions. The show is touring the UK during 2023.

The production uses puppets to bring the story and characters to life. Everyone skips, hops or bounces onto the stage . The puppets are attached to the actors who merge seamlessly with their characters. The actors worked very hard and manage to convey the distinctive characteristics of each of the well loved characters. From the puzzled  Winnie the Pooh wondering where his friend Christopher Robbin is or where his next pot of honey is coming from, the  nervous Piglet, the melancholic Eeyore, the exuberant Tigger, the bossy Owl, the excitable Roo and caring Kanga to the irritable Rabbit they all make an appearance.

The set is deep in the hundred acre wood and starts with Christopher Robbin searching for Pooh. The air is full of birds, butterflies and most importantly, bees.

The storyline is a little confusing, it loosely follows the seasons. It includes snippets from the books and the Disney films; Pooh sticks, pots of honey, bouncing and Eeyore looking for his home, it just doesn’t hang together very well. Having said that I’m not sure any of the excited audience minded at all. They just loved the excitement of Tigger teaching Pigglet to bounce and of course singing along to The Wonderful Thing about Tiggers. It’s a gentle introduction to the world of theatre for all young children. So get ready for an early years adventure to the theatre.

Deep in the Hundred Acre Wood, just off the Hammersmith Bridge, Pooh Bear goes on search of some ‘hunny’ and has a host of adventures with his friends.

Heading across the pond for a musical extravaganza created by Jonathan Rockefeller, we follow Pooh, Piglet, Eeyore, Tigger, Kanga, Roo, Rabbit, and Owl in a technically-slick show for little ones.

Packed with pre-schoolers on Saturday morning’s performance, with all the constant ups, downs, and disturbances that entails, the mood was more of a busy school than theatre.

On the stage, the puppetry and detail was lovely, AA Milne’s stories were easily translated to live performance, and several songs made an appearance (notably the Tigger song we all know from the original Disney film).

As the seasons progress and Pooh fills the time while Christopher Robin is at school, we see Piglet struggling with his kite and being the brunt of physical comedy, Rabbit and Owl trying to be the voice of reason, and Eeyore being the epitome of cheer.

My memory of Pooh Bear and friends goes back to the 1977 compilation film and the books Winnie the Pooh (1926) and The House at Pooh Corner (1928). They are funny, charming, and wildly creative.

Here, the musical motifs are present with some of the Sherman Brothers songs sitting alongside a new orchestral score. As Pooh heads towards his centenary, he seems to remain the silly old bear he always was.

This Winnie the Pooh musical is very American in style, substance, and vernacular. Think ‘buddy’ and ‘tom-ay-toes’. It’s shiny, colourful, and entertaining.

The performers – Jake Bazel, Robbie Noonan, Alex Cardall, Lottie Grogan, Chloe Gentles, and Laura Bacon – who voice and manipulate the animals are very gifted and clearly enjoy the experience.

Whether the animals (not all in stage at the same time as some actors play multiple roles) are trying to make friends with a snowman, affecting a rescue, or simply playing ‘pooh sticks’, there is much to appreciate.

If your child is a fan of the characters, this should hold their interest (even the tiniest of tots); if not, remember Disney always reach the child in the adult, so you should have a fun hour here.

Winnie the Pooh continues at Riverside Studios until 21 May. Tickets here, with a variety of options, including ‘magic’ seats and family group bookings. It then goes on a UK and Ireland tour.

Cast

• Jake Bazel as Winnie The Pooh (for the riverside studios show only)
• Ben Durham as Winnie The Pooh
• Robbie Noonan as Tigger (Eeyore, Rabbit, and Owl understudy)
• Alex Cardall as Eeyore/Rabbit/Owl (Tigger understudy)
• Harry Boyd as Eeyore/Rabbit/Owl (Tigger, and Pooh understudy)
• Lottie Grogan as Piglet/Roo (Kanga understudy)
• Chloe Gentles as Piglet/Roo (Kanga understudy)
• Laura Bacon as Kanga (Piglet/Roo understudy)
• Oliver Ravelini as Christopher Robin (for the riverside studios show only)
• Joshua Khanyisa Smith as Christopher Robin (for the riverside studios show only)
• Charlie Man Evans as Christopher Robin (for the riverside studios show only)
• George Menzes Cutts as Christopher Robin (for the riverside studios show only)

Trivia

• The event held at was the very first time that the all of the musicals main characters (which consist the including of Pooh, Christopher Robin, Piglet, Eeyore, Rabbit, Owl, Kanga, Roo, and Tigger) are seen together.

Gallery

Links

https://winniethepoohshow.co.uk/london/

https://winniethepoohshow.co.uk/

https://www.neamhcampbell.com/