Presented by esk and Roast Productions

Review by Dominic Corr

Gordon Aikman Theatre at Assembly George Square

Like all children’s classics for the stage, they can be magical and inventive – or they can be cash-grabs. And here, it is purely the former. Translating the scratchy, chaotic genius of Quentin Blake onto the stage demands a delicate balance of whimsical anarchy and theatrical discipline. In director Samantha Lane’s delightful musical adaptation, Mrs Armitage on Wheels, that balance is struck with a charming, freewheeling exuberance. Following the intrepid, eccentric tinkerer and her trusty canine companion, Breakspear, as they attempt to take a humble a cycle ride to her cousin’s house for tea and cake, the production turns a modest journey into an escalating celebration of overengineered gadgets and community spirit.

At the centre of this kinetic universe sits Ryan Dawson Laight’s visually arresting set – a massive, wooden workshop shed that folds and unlocks with the intricate precision of an origami puzzle box. Yet, while its mechanical reveals draw genuine gasps, its persistent presence on stage presents a slight narrative hurdle; by keeping Mrs Armitage anchored to her cottage, her grand cross-country expedition occasionally loses its forward momentum, feeling less like an epic adventure and more like a series of pitstops in her own front garden. And here, it is purely the former. Though, a trio of passing hedgehogs make a nice touch. Each roadside interruption allows her to solve oddball local dilemmas—from hydrating dahlias to roaring winds—and though these episodic diversions stall her travel plans, they allow Jessie Maryon Davies’ vibrant score to shine through witty, melodic anthems.

Lottie Johnson leads the cast with splendid zest, anchoring the show with a rich, authoritative voice and West End-worthy polish. Beside her, Duncan Taylor and Christopher Dobson bring boundless multi-role energy, populating the local landscape with quirky passersby and imaginative secondary puppets fashioned from everyday household items like dustpans and scrubbing brushes. The indisputable scene-stealer, however, is the floppy-eared dog puppet, Breakspear, whose expressive tail wags and squeaking antics draw effortless peels of laughter from the auditorium. Complete with clever upcycling themes and a heartfelt message about the karmic joy of helping others, Lane’s adaptation remains an affectionate, polished, and thoroughly enchanting introduction to live theatre.

---