Some children’s books – simple stories from familiar worlds – transfer to the stage without much creative heavy lifting. Philip Pullman’s fairytale of volcano scaling, talking elephants and “The Greatest Firework Show in the Galaxy” isn’t one of them. But with buckets of imagination and a sterling cast, Lee Lyford’s new production for six-to-12-year-olds is both epic and spellbindingly intimate. My seven-year-old guest, Artie, isn’t familiar with the book but is immediately enthralled and, at times, so far on the edge of his seat I fear he’ll collide with the woman in front.
Lila dreams of becoming a firework-maker like her dad; he isn’t so keen. So when he’s tricked into revealing the final secret to his craft – winning Royal Sulphur from a fire fiend atop a volcano – Lila’s off like a rocket, via jungles and pirates. Her friend Chulak, learning more about the dangers in store, goes in search of protective water with the king’s vociferous white elephant, Hamlet.
Lyford and team rifle through a bulging dramatic toolbox to bring it all to life. Anisha Fields’ simple set begins as Lila and her father’s workshop but, with the help of some lo-fi additional scenery and a few humble props, soon becomes a river, a jungle and the side of a volcano, complete with cardboard-box rockslide. Fireworks are unfurling cocktail umbrellas and tiny lights dancing on the ends of fingers. (The finale’s firework competition is more extravagantly breathtaking in ways I won’t spoil.)
There’s excellent puppetry (designs and direction by Maia Kirkman-Richards), from hulking Hamlet – controlled by two cast members within – to intricate shadow puppets parading across a lampshade. “Write down that – that’s amazing!” whispers Artie, jabbing my notepad. Jonathan Chan’s lighting and Elena Peña’s sound design bring real peril. When red lights, smoke, crackling sound effects and a rumbling voiceover conjure the fire fiend, a spooked Artie suggests raising the minimum age guidance to nine.
The cast of five take the technical demands of such invention in energetic stride, with all except Tika Mu’tamir (a pleasingly plucky Lila) also playing multiple roles. Artie’s favourite is Jules Chan as cheeky Chulak and one of the useless pirates rowing themselves in circles in his favourite scene – it’s also a moment where Jude Christian’s adaptation adds gleeful silliness to Pullman’s vivid language. My standout is Rose-Marie Christian, whose every incarnation is a delight, although cockney chancer Auntie Rambashi is her best.
Lila’s quest could do with a clearer setup, and the final lessons in love and risk-taking a little more exploration. But what seven-year-old cares about all that amid so much fun? Despite some questions throughout, Artie leaves creating fireworks with his fingers, practising the “mouth noises” he admired from the actors, and planning an explosive future career.
• At Polka theatre, London, until 18 January
