The Olympic season this summer has been one of celebration, harmony, and skill. The vast array of talent and perseverance put in by every competitor has been a joy to watch and commend. Yet, in all the festivity it seems I have been spirited away to another place of wonder: the theatre.

Over the summer, theatre in the West End has certainly had a great lineup, and John Caird’s and Maoko Imai’s ambitious adaptation of Hayao Miyazaki’s animated movie Spirited Away certainly has not disappointed.

Spirited Away: Studio Ghibli’s 2001 film is an utter gem. It follows ten-year-old Chihiro, who must work in Yubaba’s bathhouse for spirits to free her parents who have been turned into pigs. To transfer this touching story full of intricate backgrounds, impressive designs, tender heart, and culture from animation to theatre production is no small feat. Caird and Imai understood this, and through the ingenious set design, costumes, and puppetry, the care put into the adaptation speaks volumes to the magic theatre can create.

This is not the first show from Studio Ghibli to be adapted for the stage. Tom-Morton-Smith’s adaptation of Totoro, the story of how two sisters settle into their new home in the country amongst playful spirits, brought the possibilities of animation to life through giant puppetry and moving stage sets. For Caird’s and Imai’s production, they do not shy away from creating puppetry of magnitude, weight, and movement for each spirit. The beautiful costumes designed by Sachiko Nakahara blend seamlessly with the use of puppets.

From the transforming figure of No-Face to Kamaji’s spider-like extendable arms, the puppetry designer Toby Olié brings the characters alive.

Each spirit has a unique design built from their animated design, allowing them to move and flow in their own way. You’re gripped to your seat as Yubaba is encased by pieces of her enlarged head which is constructed around her by other actors – complete with fire-breathing and all. No-Face has many different costumes: from one which lurks in the shadows in cascading fabric, to a towering beast moved by many hands as the spirit rips through a wall.

The tools utilised to bring the show to life is another credit to the production’s excellence. Designed by Jon Bausor, the main set structure consists of a singular building, which spins around the stage revealing different rooms and features. At one moment, it rotates and forms the bridge Chihiro crosses to get to the bathhouse and the next it shows a bathroom in the bathhouse, with Chihiro’s sleeping quarters above it in the rafters. Then it morphs into Yubaba’s office at the top before moulding into an unsteady staircase leading down to the boiler room. The central set unifies the action and keeps the whole production focused on emotion, awe, and storytelling. Watch as the world around you disappears into the darkness as paper lanterns around the stage and audience light up to welcome you into this magical world.

The team of Toho Co and PW Productions truly made this show immersive. Three hours is a long run time to captivate an audience, especially for younger viewers. Yet from the unique movement for every character, emotion behind every piece of dialogue, music beat, and lighting dim – you become spellbound in the storyline and atmosphere created. The whole cast brought 100% and more to their roles, translating each character’s personalities from the movie with every tool in their disposal.

Spirited Away is a production you don’t want to miss. It’s like watching a gourmet chef whip up a five-star feast, leaving you wanting more. Only, make sure the food is not enchanted by a witch who lives in an abandoned amusement park.

—

This production at the London Coliseum is nearing its end on the 24th of August. Tom Morton-Smith’s adaptation of Studio Ghibli’s Totoro returns to the West End in March 2025.

Photo credit: Abbie Harding