Written by Terry Pratchett

Adapted by Stephen Briggs

Directed by Jonathan Whiteside

He’s got a list, and he’s been checking it for as long as the Discworld has been adrift on the back of that Great Turtle. If you’re good? Maybe you’ll get some rinds or back-bacon. Bad? A bag of blooded bones. A powerful tale in belief and the smaller fantasies in life, Strawmoddie bring the whimsy and humour of Terry Pratchett’s Hogfather to the Pleasance theatre to offer an enjoyably humorous take on the tale of the jolly man in red we’ve all long associated with the winter season.

Often attributed as one of the most popular (in part thanks to the 2006 Sky One special with David Jason, Michelle Dockery, and Ian Richardson) Pratchett’s 20th book leaves the festive spirit with rosy cheeks and its pants down in this delightfully grim satire with a touch of edgier comedy than the usual lighter toned fantastical farce. Typical of Pratchett’s work, where a thread of remarkable thought and brilliance runs from foundation to fruition, The Hogfather is as much a satirical tale of excess and twisted tradition as it is a pantomime farce and celebration of Christmas.

And when better for this all to kick off than on that most festive of eves, December 32nd. As we find ourselves – not with our main cast – but with the Assassin’s Guild, a group who, following Debbie Cannon’s returning performance as the narrator, find one of their less colourful characters, Teatime (pronounced Teh-ah-tim-eh) hired by the Auditors, celestial bureaucrats looking to make the Discworld more ‘manageable’ and a cleaner environment for them to weave their ways through. Their task? To eliminate the titular Hogfather, the Discworld’s incarnation of Santa Claus – just with more fur and tusk.

Caitlin Carter carries Teatime with a poise and conceited elegance, wandering the stage and back stalls whistling to unnerve those surrounding them. Understated, Carter makes for the perfect antagonist with all the over-the-top characters surrounding them, a rag-tag bunch of thugs in the form of (largely comedic) performances from David Taylor, Gregor Dickie, Matthew Jebb, and a terrific performance from Alex Card as the led-astray and loveable rogue Banjo.

Choosing to remove their target in a less orthodox way – after all, how do you kill a god? Teatime utilises a crueller tactic involving the world of children and their teeth, and before long, the Hogfather begins missing their annual gift-giving. But only one person notices; Death. Taking up the mantle of the Hogfather to keep the myth alive and to source out the disappearance of the tusked gift-giver. With their trusty butler, Albert, armed with a rollie-up cigarette, played with genuine chemistry between Chris Allan and the enormous puppet of Death.

The Hogfather marks Death’s continuing appearance within the Discworld novels but the first major play for the role as a full character – and the returning puppet from Allan (operated by James Cruikshank), first used for EGTG’s A Christmas Carol, is used to tremendous impact. Standing tall above it all, voiced with Ben Blow’s clear diction and cleverly balanced delivery offers insight into Death’s understanding of the world, and some delightfully dark and refreshingly prosaic humour.

Similar to And Then There Were None, it’s nice to see Alice Pelan in a more prominent role from Strawmoddie, this time delivering an excellent interpretation of Death’s granddaughter, Susan, a governess which stokes sparks of Emily Blunt’s take on Mary Poppins; this time armed with a fire poker and more nihilistic attitude. With perfect diction which combines a sense of commanding intelligence, yet still a spark of the humanity which keeps them in tune with the people of the Discworld, and the value of Hogswatch.

With many unique creatures and residents of the surrounding Ankh-Morpork, the city where most of the principal action takes place, one would fear there was a lot to risk with bloated scripts and wobbly direction. But, if anything, Hogfather achieves well-balanced pacing with the twenty-three strong cast who shift between locales and roles with relatively clean transitions. Dressed to the nines, the prop and costume work from Allan and Hilary Davies serves the team remarkably well – aiding in a distinctive change in character and locale, all of which benefit from Elissa Webb’s atmospheric lighting, and David Marsland’s sound design. Whether it be the Unseen University, featuring Blow’s trademark bluster and powerful presence as Ridcully, or the Tooth Fairy’s workshop where you’ll spot Amber Lipman as Violet Butler’s early-career fairy, making friends with Grace Gilbert’s break-away role as the newly created Bilious, god of hangovers.

The show also features a delightful cameo from Rebecca Amos’ Corporal Nobby Nobs, reprising their role from the group’s equally successful Guards! Guards! Earlier this year as part of the Cymera Festival. As bumbling as ever, they’re this time joined by Andrea Linhova as Constable Humpeding, a vampire, and the Watch’s newest member of the Watch’s expansive and welcoming nature. It’s a minor, even inconsequential element to the show, but Brigg’s adaptation maintains all the nooks and crannies from Pratchett’s books, Whiteside and the cast making great use of these small moments to offer some terrific characterisation and comedy.  

There’s a sense of directing for the screen, rather than stage from Whiteside as projection proves to be the most glaring issue with the production, particularly as characters turn to converse with one another, their faces turned from the audience. And though the Pleasance Theatre has never been the best for carrying through to the rear seats, there are those in the principal cast who have no struggle conveying their voice throughout. It’s Hogfather’s only noticeable fault, one which does cause issues both in following the principal plot for those unfamiliar with Pratchett’s characters and those sitting further than the initial few stalls.

With flourishes of the musical variety, thanks to Dug Campbell’s composition and musical direction, the Hogfather captures all the expectant cheer one could hope for but offers an engaging deviation for a yuletide treat. One which wraps itself in the excess of the season and builds its own traditions and rituals from an already vast cauldron of others. A grim and grinning festive treat, Whiteside and the Strawmoddie team do another spectacular job in bringing Brigg’s adaptation to the stage.

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