Toto Kerblammo! | Unicorn Theatre

Toto Kerblammo!, which is written and directed by Tim Crouch, is an award-winning emotional children's show about grief, love and connection. The show makes its return to the Unicorn Theatre due to the show's popularity. This two-hander show is unique in its approach, gently guiding audiences to feel deeply and reconnect with themselves and their loved ones, through the use of individual headphones that use a mix of live and pre-recorded voices, music and sound effects. 

The show follows the 12-year-old Effy (Lily Olufemi-Bywaters) and her dog Toto (Oliver Baines) following a car accident that leaves Effy hospitalised. The show begins with this pivotal moment and continues to jump between past (two weeks earlier) and the present day, where she is physically unconscious in hospital, and in an unknown place alongside Toto in her mind.

As the story slowly pieces itself together building up to the car accident, audiences get to know the unfortunate circumstances that Effy currently resides in. With a father who is not present, a mother whose mental illness is so severe that she's hospitalised with no visitation, a recent home fire and concurrent displacement to her aunt and uncle's house, whilst trying to hide Toto, the young Effy is the picture of distress and misery. 

The show explores dark themes, though through Effy's perspective, which does add a childish naivety to it that will resonate with audiences. Whilst there are moments of genuine joy, laughter and a wonderful understanding of love, the show may not appeal to younger audiences. The show takes audiences on an emotional rollercoaster, but takes the time to stop and explain each emotion with an astute understanding that feels therapeutic and welcoming. Through the use of headphones, audiences experience these emotions in their own way, whilst still feeling connected with others. 

Crouch's script and dialogues are blisteringly good, with each scene awakening a new sense of reflectability within audiences. The constant time jumping keeps the sense of anticipation alive whilst ensuring that the negative emotions don't fester. The storytelling is well mapped out, with older audience members being able to fill in the blanks that Effy doesn't fully comprehend herself. The story explores the large feeling that small children may not understand but are more than capable of feeling. 

Crouch's turn as director is just as extraordinary, really letting the sound and lighting design take priority with the utmost confidence that the script holds itself steady. Olufemi-Bywaters and Baines are both strong performers, taking the stage by force when required, but also taking a backseat when audiences are encouraged to get lost in their own imagination. 

The set, designed by Lily Arnold, is simple, with a slightly raised platform covered in the most heavenly looking fluffy white carpet. A black cloth on the floor surrounding this platform is cleverly pulled away to reveal the show's emotional twist at the end, but otherwise the show uses minimal props or costume changes.

Ingrid Mackinnon's movement weaves in effortlessly, really transforming Toto Kerblammo! from a traditional theatre show to something quite magical to watch. The two performers move in sync, as they enter the unknown space in Effy's mind and make great use of the fluffy stage. Baines, in particular, benefits from the movement, as he rolls over, switching between the roles of Noah and Toto with only a beanie to differentiate. Baines' physicality as Toto is admirable as he leaps over Effy with all the energy of an excitable dog, especially as they playfully tackle one another. However, it is the last few minutes of the show where the tension is dialled up as Olufemi-Bywaters jogs around the small stage whilst Baines sprints around the stage, bonded together by a leash, that feels like a dream. 

Olufemi-Bywaters does a splendid job as Effy, bringing the stubborn element to her pre-teen self, as she is, understandably, hostile and guarded with anyone who tries to connect with her. Olufemi-Bywaters wears the weariness that comes from long term anger and sorrow well as her exhaustion is prevalent on stage. Olufemi-Bywaters' emotional breakdown as she is crying and sobbing for her mother is painful to watch as the anger cuts through, as well as the final resignation about depression. 

Baines is excellent as Toto and Noah, taking on two very different roles and making both as endearing as the other. As Noah, Baines captures the innocence of youth and the resilience of kindness as the 12-year-old neighbour who tries to befriend Effy. Speaking with the emotional wisdom of an old soul, and yet the blunt and prying eagerness of a child, Baines is wonderful to watch. His run as Toto, however, is the show's standout, as his physicality is well-defined and really embodies a small dog. The cheeky shrugs of misbehaviour, the endless energy, the constant need for affection and attention, along with the keener sense for emotions and sounds are all beautiful, but it's his fear and panic with the prospect of danger and manic protectiveness of Effy seconds before the accident that is breathtaking to watch. 

The cast are completed by Madeline Appiah and Crouch as Effy's aunt and uncle respectively, and Sinéad Matthews as Effy's mother, all of whom are voice-overs. Matthews' performance impressively chronicles her recovery as the raspy and hateful speech slowly becomes clearer, calmer and more encouraging. Although infrequent, Matthews' presence does have a large impact. 

Toto Kerblammo! is a strong show, but it's made unforgettable by its excellent use of sound and light. Will Monks' use of three strips of light on each wall is deceptively clever. The lighting provides invaluable context to each scene, as the moments inside of Effy's mind tend to be a glowing white, whilst her present day is a darker dull colour. The colours are well chosen to represent the defining emotion of a scene. The car accident is well captured as the lights are blindingly raised into the audience's eye line, resembling headlights, as is the moment underwater as it drowns the theatre in a silky blue. 

The sound design by Helen Skiera (and operated by Deanna H Choi), is nothing short of marvellous. Each seat has a headset awaiting them, with a gentle pattern of rain playing, an important element that ties into the show's climax. The soundscape is wonderfully developed with crisp clarity. The headsets really place this world inside one's head, allowing audiences an insight into Effy and Toto's world. The phrases "are you listening?" and "keep listening. closely" are repeated often, with good measure for the smaller background noises are often forgotten in the dialogues, yet provide invaluable contextual clues.

Alongside this use of background noise comes the further exploration of sound. Narrated by Baines, time is suspended as emotion and sound are explored and explained. Skeira's compositions, that are essentially slow vibrations which make a fuller sound, evoke emotions within the audience, as they later connect that with Effy and Toto in each moment. Minor changes in these vibration, along with Baines' descriptions, makes this piece so well crafted and unique. 

Toto Kerblammo! is a show that showcases the importance and strength of theatre in every element, whilst delivering a heart-wrenching story that reminds audiences about the power of love, friendship and connection. Whether it's for younger children is questionable, but it's a must watch (and listen) for audiences. 

Toto Kerblammo! is currently playing at the Unicorn Theatre until 22nd May - tickets and more information can be found here.

★★★★★ (5*)

Gifted tickets in return for an honest review | Photography by Marc Brenner