The Gruffalo

I may be a fully-grown adult woman, but it doesn’t mean I can’t enjoy Out of the Box at QPAC. The biennial festival for children eight years and under includes dozens of creative treats, with The Gruffalo taking centre stage at the Lyric Theatre. The musical brings Julia Donaldson and Axel Scheffler’s beloved picture book to life. A well-paced 55 minutes of whimsy and wit, the clever adaptation delivers a playful, theatrical, joyous romp through the woods, where storybook characters come alive in a spirited performance and the line between fearsome and funny is deliciously blurred.

The show is a visual delight. Designer Isla Shaw has conjured a vibrant, adaptable set that feels pulled from the pages of the book—playful and practical, offering charming opportunities for mischief and movement. Levels are well utilised, encouraging both physical comedy and fluid storytelling. Costuming is just as imaginative, enabling seamless transitions between characters while still anchoring each creature in a distinctive visual world. James Whiteside’s lighting design underscores the changing mood of the woods with atmospheric flair—mimicking dappled woodland sunlight, supporting scares, surprises, and moments of gentle magic. The effect is enchantingly lo-fi in the best sense: inviting, inventive, and never overbearing.

The musical score by Jon Fiber, Robin Price, Olivia Jacobs and Andy Shaw adds sparkle, with earworms that bounce along delightfully. A highlight is the Owl’s song, which embraces a ‘roaring 20s’ sound, supported by Morag Cross’s enjoyable choreography. The dancing throughout the entire show keeps things lively without ever overloading the young audience—simple, clear movement patterns emphasising character and supporting comedy.

The trio of performers deliver with gusto. Nina Carcione plays Mouse with charm and conviction, bringing just the right mix of vulnerability and guile. Her clear physical storytelling and facial expressiveness are well-pitched for young audiences, and her movement work is sharp. Alec Steedman takes on a triple threat of predator roles—Fox, Owl, and Snake—with confident transformations, strong comic instincts, and solid vocal work. His Snake is particularly crowd-pleasing, all slither, sequins, and sass. Jake Tyler as Narrator and Gruffalo is a delight: affable, dynamic, and deeply attuned to the audience’s energy. His physicality as the titular beast is equal parts ridiculous and riotous—precisely the right tone for the show’s climactic reveal.

This production strikes a fine balance between the silly and the sincere. There’s a real generosity of spirit throughout, with performers giving the young audience plenty of room to giggle, gasp, and shout their contributions. The fourth wall is delightfully porous—just as it should be in work for this age group—and both the children and their adults clearly revelled in the chance to join the adventure.

For performing arts practitioners, The Gruffalo is a fine example of the power of economy and engagement. It’s a reminder that sophisticated theatre craft and high-quality children’s performance are not mutually exclusive. The work is polished but playful, built on strong ensemble chemistry and a deep respect for its source material.

In short, The Gruffalo is a theatrical joy —bright, bold, and just the right amount of scary—that’s sure to have turned a few little ones into theatre fans of the future. Like the Mouse herself, this show punches above its weight, proving once again that wit, teamwork, and a few good nuts can triumph over even the gruffest of monsters.

Kitty Goodall

Photography by Pete Wallis. Images are of a previous cast.