A Storybook You Can Step Into: DCP Theatre’s The House at Pooh Corner
A Review by Thomas W. Rush
Based on A. A. Milne’s Winnie-the-Pooh, first published in October 1926 with the now-iconic illustrations of E. H. Shepard, The House at Pooh Corner arrives at DCP Theatre in conjunction for the story’s 100th anniversary. Nearly a century later, Pooh and his friends remain instantly recognizable—not because they have stayed frozen in time, but because their humor, innocence, loyalty, and friendship continue to speak to audiences of every generation.
Walking into DCP Theatre for The House at Pooh Corner feels a little like stepping directly into the imagination of A. A. Milne, where a wonderfully mismatched gaggle of friends have been waiting for us all along.
One thing should be made clear from the beginning: this is not Disney’s Winnie the Pooh—and that is not a bad thing. Audiences expecting the familiar voices, appearances, and characterizations of the Walt Disney adaptations may initially be surprised. What DCP Theatre offers instead is something closer to the spirit of Milne’s original stories. These characters seem to leap from the pages of the books and come alive within the Hundred Acre Wood.
Under the direction of David Williams, the production embraces the innocence, humor, and gentle eccentricity that have allowed these characters to endure for generations. Williams does not attempt to imitate what audiences have seen on television and film. There appear to be some easter eggs and small nods to Walt Disney without being distracting. Williams allows the actors to establish their own versions of these beloved pals while preserving what makes each character immediately recognizable and unique.
As Christopher Robin, Brynn Pongras connects the audience to the wonderfully extraordinary collection of woodland friends. As the character whose imagination opens the door to the Hundred Acre Wood, Pongras provides a youthful presence amid the larger-than-life personalities surrounding young Christopher Robin and helps align the story in the childhood wonder at the heart of A. A. Milne’s world.
The titular and beloved Winnie the Pooh is cared for in Susan Dean’s portrayal. She captures the loveable sincerity, naivety and wholesomeness of this chubby, cubby bear. Dean does not attempt to make her Pooh flashy nor overstated. Her understanding of her character is clear from the moment Pooh enters with a nostalgic presence. The appeal to her portrayal is in the small smiles, tremendous loyalty, and ability to stumble into problems with delightful solutions.
Ella Pinkerton as Piglet brings a joyful, gentle and vulnerable essence to one of Pooh’s closest companions. The chemistry between Dean and Pinkerton is undeniable through the genuine bond they share. Pinkerton’s Piglet approaches all situations with care and understated apprehension. Beneath any visible nervous exterior, Pinkerton ensures loyalty and courage are center stage for Piglet.
Owl, Liam Pummer, is the self-appointed intellectual of the Hundred Acre Wood. Pummer portrays Owl’s confidence in his own wisdom which is part of the character’s humor. Pummer utilizes pensive expression and subtle, well-calculated delivery of this wise Owl’s input in conversation.
The Hundred Acre Wood would be amiss without the inclusion of everyone’s favorite gloomy and undeniably lovable, Eeyore. Caitlyn Swartz’s Eeyore provides a much darker, negative and at times disgruntled donkey. Eeyore’s energy is best known to be sluggish; however, Swartz finds a way to turn sluggish into direct, calculated listlessness contributing to the events unfolding.
That ball of endless energy of that as Tigger, Maria Serino, ups the energy of the entire show with enthusiasm and a physicality that you feel has been anticipated. Serino’s Tigger enters after all personalities have been established and manages to disrupt nearly all of them – which, of course, is precisely why he is so beloved, because “tiggers” are loved by everyone.
Kanga, Courtney Katz, delivers a warm, steady presence with refinement and grace as mother not only to Roo, but to all beings in The Hundred Acre Wood. Grissom Foulkes as Roo brings a youthful curious and somewhat devious approach, especially being smitten with his new pal Tigger on the scene.
Keyton Wenrich as Rabbit delivers an exasperated expectation of the character who is in somewhat competition with Owl as he believes The Hundred Acre Wood would operate much more efficiently if everyone took his direction. Wenrich’s presence as Rabbit is bold and commanding, adding a significant amount of laughter through his directness.
Rabbit’s nieces Early Rabbit, Kaida Gambier, and Late Rabbit, Sophia Thornhill, bring a youthful contrast of those perceptions of individuals who are either always “early” or “late” in life. They are a pleasure to encounter.
Listed as the “Voice,” Casper Spigel demands order as the parental unseen figures of Christopher Robin recalling Christopher to put playtime aside to rejoin the mundane tasks of everyday life. Spigel also serves as the stage captain for the production.
The Hundred Acre Wood, undeniably a character of its own, is beautifully designed and brought to life by set designer Colleen Algeo and her team. Instead of the scenery serving as a mere backdrop behind the action, the set is an enormous part of the experience. The audience has an opportunity to take in this woodland world throughout the performance, reinforcing the feeling that Milne’s illustrations and descriptions have somehow expanded beyond the page. Undoubtedly, this is one of the best set designs of any show at DCP Theatre.
Costume designer Caris Williams’ decision to not reproduce the familiar Disney aesthetic is bold and well done. Lydia Klementisz’s light and sound design completes the environment, supporting changes in mood and helping transform the theatre into this imaginary woodland.
Behind every successful community theatre production is an enormous amount of work that audiences never see. Producer Jane Spigel helps bring all those pieces together, while Stage Manager, Brandon Pascucci carries the considerable responsibility of maintaining the organization and rhythm of the production once all those creative elements are assembled.
Perhaps the greatest success of DCP Theatre’s The House at Pooh Corner is that it reminds us that these characters belonged to generations of readers before they became global entertainment icons. There is something refreshing about encountering Pooh and his friends without requiring them to sound, look, or behave exactly as popular culture has taught us to expect.
Children can enjoy the adventures unfolding in front of them, but adults may discover something else waiting in the Hundred Acre Wood: nostalgia. DCP Theatre allows these loveable friends to step off the page. And for a little while, we are invited to join them.
Get your tickets now for the four remaining performances of DCP Theatre’s The House at Pooh Corner (Friday, September 18th at 7.30pm; Saturday, September 19th at 2pm and 7.30pm and the closing show on Sunday, September 20th at 2pm).
Special thanks to the show sponsor CK Services. Contact them for all of your plumbing, electrical, and basement waterproofing needs at (484) 645-4591.
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