A review by Nicola Finlay

James and the Giant Peach tells the tale of James Henry Trotter who has been unhappy ever since his parents died. He is so sad because he is forced to live with his Aunts Spiker and Sponge, who treat him like a slave. One day James meets an old man who gives him some crocodile tongues to make his life better. The tongues make a peach and several insects grow to mammoth proportions and we join James and the insects as they journey to New York.
As her debut production, Emma Holloway could have chosen many easier productions but with an enthusiastic cast, who were more than ably supported by a small army backstage sprinkled magic on the Phoenix stage. From the first moment with a rip-roaring rhinoceros chase convincingly achieved by sound, shadow and the running-on-the-spot skills of Robbyn McClements and Louis Cruzat as James` unfortunate parents, the audience was instantly transported into a magical world.
The three narrators Daisy Netley, Ellie Bosticco and Ella Thomas carried the story along with a charm that drew the audience further into James` life. Samuel Callen was illuminating as James, managing to convey the struggle of James from sad mouse to courageous lion. A transformation aided by Grasshopper, Daniel Callen, and Centipede, Ben Morris-Jones. Trying to hold James back were nasty Aunts Sponge and Spiker, portrayed by Emily Netley and Polly Brown. Weaving silver clad spell was Ellie Churchill as Spider.
Ela Gilmour was captivating as the Ladybird and James Negus was endearing as the gloomy and pessimistic Earthworm. Finally Sheri Eastman had an exotic quality that was splendid as the Glow-worm in a suitably sparkling and shining costume. It was perfect casting as each member developed the unique qualities of the insects, each helping to progress the storyline. The rest of the cast provided the supporting roles, capturing the essence of each with gesture, movement or voice such as Hannah Callen as an old lady, Alec Negus as the mysterious Little Old Man, Mark Alston with his commanding voice as the Captain of the Queen Mary and then there were the Cloud Men. Small vignettes but very important to the overall feel of the play. The simplicity of the props was complemented by the technical support.
The peach grew steadily and spectacularly achieved by projection onto the back wall of the auditorium, the sea represented by strips of white and blue net a dyed orange dustsheet served as the Giant Peach with a stalk made from a piece of copper tubing cleverly encased in brown-painted foam. The audience was transported into the rough sea, surrounded by sharks, carried along by imaginary seagulls, buffeted by the Cloud Men before finally landing on top of the Empire State Building. The sound effects were always spot on and the music was well-chosen either to promote the action or link the scenes. The lighting was well-designed too, making this a visual treat.