Cider with Rosie by Laurie Lee
adapted by James Roose-Evans

Cider With Rosie, Laurie Lee's classic childhood memoir, is a nostalgic and sentimental treat with a bittersweet edge. Christopher Neil's production does it full justice from the moment that Jennifer Ord's exquisite voice is lifted in The Wild Trees of Home at the beginning of the show.

Through the eyes of a small boy, Cider with Rosie tells the story of a "generation which saw, by chance, the end of a thousand years' life". Set in the 1920s, Lee's account of growing up in a Cotswold village must have seemed quaint even to his contemporaries. His sketches of his early years evoke a picturesque world of horses and carts, village schools, carol-singing and skating. But there is a dark side to this close-knit, change-resistant community. It's a world which has not entirely emerged from the ancient English tradition of feudalism, where the villagers still show some automatic respect for "the old Squire", where eccentricity is tolerated but attempts at self-improvement are mocked - or worse. A local who has made good in the New World makes the mistake of returning to the village and boasting of his success. He is brutally beaten to death, and his killers are never brought to justice although everyone knows who they are.

But such unsettling moments are few and far between, and in general, Cider with Rosie focuses on beautifully observed characters, comic vignettes and poignant memories. The people Lee describes with so much affection are so clearly recognisable that they rise above their specific setting to become universal.

The most significant example of this, and the most moving sections of the play, concern Laurie Lee's relationship with his romantic, exasperating, impractical mother - an outstanding performance by Tracey Pocock. As the older Lee, looking back with affectionate understanding and regret, Duncan Sanders' speeches, simply delivered, are heart-rending.

In the central role of Lol, Stasia Buckle delivers a fine performance as an extremely young boy. Her childhood mannerisms are charming and amusing, and she conveys a perfect quality of innocence. However, despite the sultriest efforts of Eleanor Barr as Rosie, and some great enthusiasm from Buckle afterwards, the famous scene of Laurie Lee's sexual initiation by the youthful but predatory Rosie, doesn't quite work. It might have been better had Duncan Sanders, as the older Lee, tagged in at this point, as despite the humour of the scene and the youth of the participants, it does after all depict an adolescent's introduction into the adult world, recalled from the point of view of maturity.

Christopher Neil's direction and James Galloway's design are both strong and imaginative, successfully creating a multitude of locations from a motley collection of period furniture. The entire cast of nine demonstrate excellent ensemble skills, and there are some excellent performances in multiple roles. Helen McBain is particularly impressive as a loving sister, intimidating schoolteacher, endearingly batty granny, and finally as a hilariously deluded singer / songwriter.

Speaking of which, apart from playing the eponymous Rosie, Eleanor Barr is also responsible for serving up "the mushroom song". Amidst all the nostalgia and pathos, I am delighted to report that this glorious feast of single entendres was one of the highlights of my evening.