The Book of Everything
Writer: Adapted by Richard Tulloch
Director: Neil Armfield
Belvoir Street Theatre
22 August – 20 September 2026
Belvoir’s current production of The Book of Everything, adapted by Richard Tulloch from a novel by Guus Kuijer, is a scintillating piece of work, calculated to satisfy both children and adults. Director Neil Armfield strives for and achieves a playful, upbeat joyousness throughout, despite the hints of a darker family dynamic.
The first thing to catch the eye is the set designed by Kim Carpenter, featuring an impressive wall-sized school exercise book, covered with the typical doodles of a schoolboy. That boy is Thomas Klopper, a cheerful and seemingly happy almost ten-year-old, who is negotiating life in post-war Amsterdam in 1951 with his family.
His deeply religious father (John Gaden), harbouring residual hatred from the wartime occupation, resorts to domestic violence, carefully mimed by the actors, against Thomas and his mother (Claire Jones). They seem to tolerate his cruelty: the mother for her children’s sake, while Thomas finds solace in his writing: his book records the fantasies which help him cope.
These are all beautifully depicted in the pages of the giant exercise book: hail in summer, guppies in the canal and a plague of frogs. Amusingly, John Gaden also plays a secondary character called Bumbiter, a particularly bad-tempered canine who scatters everyone whenever he has the opportunity, no doubt to the delight of younger audience members!
Matthew Whittet’s portrayal of Thomas is excellent, depicting his energy, humour and youthful cheerfulness, as well as the struggle with his underlying sensitivity. And there are others to provide some friendly comfort for the young lad. Julie Forsyth plays the intriguing Mrs Van Amersfoort, whom everyone regards as a witch, but who turns out to be a kindly and cultured influence. Then there’s his sixteen-year-old neighbour Eliza, played by the luminous Bridie McKim. Thomas is particularly fascinated with her creaky leather leg! Last but not least, is an imaginary incarnation of Jesus (John Leary) who wanders through from time to time, handing out snippets of friendly advice.
But it is the women who embody the changing times, showing the first intimations of feminism: the feisty Aunty Pie (Pamela Rabe) declares she will wear trousers whenever she pleases at a time when it was still somewhat risqué. And watching the father’s stern façade begins to crumble, as his daughter Margot (Rebecca Massey) playfully massages a sharp knife near him whenever he shows signs of becoming violent, is particularly satisfying.
Throughout, the varying moods and tensions are enhanced by the musical accompaniment; versatile musician Jack Ward, with a score by Iain Grandage, plays piano, cello, mellotron and the bass drum, single-handed.
The effervescence continues through to the finale, where members of the audience are invited to join the actors on stage to rousing cheers, as they take three well-earned curtain calls. This delightful show is undoubtedly a triumph for the cast and crew and should not be missed!
