The Secret Garden: An old-fashioned tale is brought beautifully into the modern age

Hannah Khalique-Brown (centre) and cast in The Secret Garden at Regent's Park Open Air Theatre - Alex Brenner

There are few theatrical experiences lovelier than the Regent’s Park Open Air Theatre on a summer’s day. And with thick shrubbery making up the stage wings, and yellow sun glinting through tree tops above the set, it is a gloriously immersive setting for a production of The Secret Garden.

But this is not quite The Secret Garden you may remember Frances Hodgson Burnett’s 1911 novel from childhood. The story’s two dead mothers hail from India rather than Britain, meaning that leads Mary and Colin are of mixed Anglo-Indian heritage – a shift that brings to the foreground the more subtle colonial themes of the novel. This change is not historically inaccurate, and it gives director Anna Himali Howard a richer aesthetic tapestry to play with, even if the appearance in the second half of a mysterious aunt back from fighting revolutionary wars in Bengal pushes the strand a tad far.

Disability in the plot is no longer a signifier of Edwardian social failure, but instead something to be acknowledged, supported, and ultimately celebrated, as per today’s social mores. The garden becomes not only a site of regeneration, but a site of prelapsarian bliss where contemporary concerns around race, class, disability, and gender are seen to dissipate.

The changes made to the plot to achieve this may engender some complaints. But a more orthodox adaptation risks elements becoming distracting in how they jar with modern values. Famous scenes and lines remain intact, and the production ultimately does a fine job at retaining the charm of the novel while making it appropriate for now.

Visually, this is a stunning production, with richly coloured saris and authentic colonial outfits designed by Khadija Raza, and warm, dynamic lighting from Jai Morjaria all helping to capture something of the allure of India and blending intriguingly with Gothic tropes from the novel. The gradual blossoming of the garden, achieved through paper chains and ornaments, is also enchanting.

Cast-wise, Jack Humphrey is particularly good at capturing the smallest hint of wavering resolve in his portrayal of the austere Uncle Archibald Craven, while Amanda Hadingue’s Mrs Medlock channels Maggie Smith (who took the same part in the 1993 film) in her ability to switch between sternness and humour. Twenty-five-year-old Hannah Khalique-Brown may be more than twice the age of her character Mary, but she brings subtlety to the role, and commands the stage more adeptly than a child may otherwise have done.

Actors in the company serve as a collective narrator, remaining on stage and continually breaking the fourth wall to drive the story onwards. This device has the effect of driving the plot onwards at a sparky pace, and also helps reflect something of Mary’s feeling that the adult world is acting in unison against her – though at times it sees things descend a little too much into the production doing too much “telling” rather than “showing”.

Nevertheless, this is a heart-warming production that gives enough to keep adults and children alike emotionally hooked. The verdant setting, and emphasised colonial perspective, allow themes of renewal to come through all the more strongly.

Until July 20. Tickets: 0333 400 3562; openairtheatre.com

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