Adapted by Stephen Briggs

Directed by Jonathan Whiteside

Composition and Musical Direction by Dug Campbell

Review by Dominic Corr

Pratchett goes Panto, and we’re here for every minute of it. A classic pantomime horse, some carol singing, even the odd boo and hiss trickles out of the audience for Strawmoddie’s latest step into the Discworld – Going Postal, one of Terry Pratchett’s more well-known tales, but one not as easily adapted for the stage. Tackling privatisation, tyranny, agency, gendered bathrooms, and the ‘on-the-nose’ nature of this production all dramatically aid in making Going Postal one of, if not Strawmodie’s most rounded production to date.

Trimming out some of the junk mail and spam, director Jonathan Whiteside takes Stephen Briggs’s adaptation into the safest of hands, which has already proved time and again how much care and detail is paid by all elements at play here. Going Postal has had a few plot threads snipped for pacing and structural issues, which don’t impact the story overly. It’s only for those with their nose stuck within the Discworld who would notice. But at its centre remains a tale of Ankh-Morpork’s new Postmaster General, newly named Moise Von Lipwig (following a rude awakening following a previous execution). With their past sins to pay for and a bureaucratic message-delivery service to overcome, the halls of the post office have been flung open, and a new adventure for the Discworld is afoot.

Played as a softer-footed Ebenezer Scrooge, Gregor Dickie’s Moist Von Lipwig captures the Dickensian nature of Going Postal in a very Pratchett manner – a role which ripples of the greedy skinflint who has a chance to change their ways. But there’s no aid from spirits of various time periods – no – in this story, Lipwig must contend with something far worse: the post office. It’s an intense role, a pinnacle central figure with many branching relationships and interactions, which Dickie handles with brilliance, aided by Whiteside’s canny direction of character and plenty of on-stage support.

And it’s good that there’s plenty of it, given the endlessly shifting requirements of Chris Allan’s set – all a massive compliment to its ingenuity, imagination, and practicality. With backdrops and on-stage props to set many a scene, the post office itself is the most impressive, particularly when captured in flames or its returned golden glory by Elissa Webb’s lighting. Even the stage curtain, often used for breakaway moments, feels all the better when captured in Webb’s light. And soaking up the spotlight, the likes of Alan Sunter, JosephCathal, Matthew Jebb, and Nick Thorne make full use of their more minor roles to make a significant impact.

There’s a whole lot to fit in here, from jokes both in and out of Discworld to festive treats and a whole host of characters (upwards of forty); it’s remarkable that Whiteside’s direction is so distinct and impressive – evidently guiding their cast of 28, but without imposing too clear a hand on proceedings. Much of this also comes from the strong cast, chiefly led by a charismatic Dickie, his new parole officer Mr Pump, as Golem given life by James Cruickshank’s physical comedy, and a terrifyingly effective CaitlinCarter as Adora Belle Dearheart – patron of the local Golem sanctuary – who wields both a razor wit and cigarette holder with a knife-like precision. But the real heart of it all is Post Office clerks Mr Groat and Stanley, played with aplomb and energy by Chris Pearson, and a cracking show-stealing performance from Sinclair Davies.

Even with the advanced warning of an over three-hour running time, Going Postal actually feels like the most seamless and tightly-paced of the Strawmoddies’ productions – in part down to the cameo and breakaway moments prolific in Pratchett’s stories feeling more connected with the tale, and altered into the more festive manner of pantomime skits, musical numbers, or showcasing some of Strawmoddie’s most talented players; AlicePelan, Hilary Davies, Alex Card (who also provides Mr Pump’s comedically perfect voice) and the always welcome addition of Ben Blow’s Arch-chancellor of the Unseen University, Ridcully, really leave an impact as the colourful and zany characters of the Discworld without dragging out the script.

Drawing out the boos and hiss nature of it all, costume designer Grace Gilbert turns in a roguish Reacher Gilt, orchestrator of all things bureaucratic, monopolising the Discworld’s communications while making a tidy profit from the mess. It’s a witty script that is measured and adapted well, carried over by the entire cast with mirth, particularly by Dug Campbell’s composition and musical direction, which seals the whole show with a song, or rather a Hogswatch carol or three.

Strawmoddie’s most accomplished piece to date, Going Postal, delivers everything and more for audiences – clever and robust, with enough of a spin to ensure a stamp of creativity from the group front and centre. What has always been tremendous fun has quickly become some of the most adept pieces on Edinburgh’s amateur circuit, with an edge of inventiveness that makes us long to see them tackle the entire catalogue of Brigg’s Discworld adaptations. Good thing we’ve got more than a couple more coming up next year…

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