Presented by Theatre of Widdershins

Review by Dominic Corr

Netherbow Theatre at Scottish Storytelling Centre

Magic is a word tossed around these days. Its power wanes with each and every day in a cultural landscape increasingly dominated by mass-produced, slickly commercialised children’s entertainment, which prioritises

Theatre of Widdershins provides a delightfully handmade antidote. Tucked into the cosy confines of the Scottish Storytelling Centre, The Elves and the Shoemaker proves that genuine theatrical alchemy requires little more than meticulous craftsmanship, a touch of wit, and a room full of spellbound children.

Long before the house lights dim, sole creator Andy Lawrence—adopting the mantle of cobbler Elvis Schumacker III—establishes an effortless rapport with his young patrons and defies any miser-guts not to be melted within an instant. Measuring feet around the auditorium using eccentric, non-standard classifications rather than mundane shoe sizes, he instantly invites the audience into his miniature world. It is a simple, disarming touch of immersive showmanship that converts a room of fidgety toddlers into eager co-conspirators before the story proper has even begun. It’s seen throughout; asking us to ‘glug’ with him for water, or to use the chattering to fill any silences while the set changes or a puppet is unfolded; it’s stage command at a practical and necessary level; but parcelled as part of the show.

As the story commences, Lawrence reveals himself as a master puppeteer and storyteller of remarkable energy. Rather than offering a stale recitation of the classic fairy tale with a few additional cultural references, his script introduces a surprisingly timely narrative twist: the encroachment of Bunion Soulless, a ruthless corporate factory boss who’s cheap, mass-manufactured footwear threatens to drive the artisan Schumacker family out of business. It is a clever, lightly satirical framing device that lands with adults without ever derailing the whimsical momentum for younger viewers. It must be said: for as whimsical and magnificent as the crafting of the puppets is (still with that Dutch Efteling vibe), Bunion Soulless is performed in a Spike Milligan Wolves, Witches, and Giants-vibe for a genuine note of fear.  

The visual craft on display is exceptional. Navigating an intricately designed, pop-up style set filled with hidden compartments, glowing lanterns, and shadow play, Lawrence breathes life into a cast of distinct, self-crafted puppets. He switches character voices with fluid ease, weaving groan-inducing shoe puns alongside brisk physical comedy and remarkably terrible dancing that leaves the front rows in stitches. From his grandfather, a fully formed puppet with rod arms, to a dinky little Cornelius the mouse – right down to a series of fashionista elves, this is a wonder box of fun and imagination.

With such earnest and guiltless pleasure, Widdershins is stripped back in the way of cultural references – and threads that perfect line of connection from every age, culture, or background for the crowd. It is accessible, timeless, and most crucially, exceptionally crafted and performed. The benchmark of shows for families, and frankly, us older ones too.

Technically seamless and utterly charming without slipping into saccharine sentimentality, this production understands its audience completely. Lawrence captures the fleeting, unruly magic of childhood wonder, delivering a heartwarming hour of storytelling that leaves parents and children alike beaming from ear to ear.

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