“The Wind in the Willows” has been done done in Dolby, it’s been done in Surround Sound, and it’s been done in CGI. We’ve seen it through a myriad of special effects in attempts to capture its magic. What we rarely see is the small, toned-down, bare-bones “Wind in the Willows.” But when Seacoast director Gary Locke found Alan Bennett’s adaptation of Kenneth Grahame’s story in a pile of books, he realized he had the potential for onstage gold. Not via flashy effects or cumbersome costumes, but by drawing from the actual story, using adult actors to embody some of the more prevalent aspects of each character. 

The result, onstage through April 23 at The Players’ Ring, is pure storytelling with well-formed characters and earnest, honest plot, a return to what made us fall in love with this tale in the first place. It’s a surprsingly bold and strong choice, and it works brilliantly.

From the moment Andrew Fling steps onstage as Ratty, he rules not only the stage but our hearts. With his clipped delivery and confidence that oozes out of every pore, he holds our attention completely. When he befriends Mole (Adam Bowker), he truly takes him under his protective wing and develops a bit of a possessive feeling about his protégé.  Fling’s impeccable sense of comic timing, as well as the ability to full embody his characters, casts a spell of which few actors are capable.

Equally well cast, and equally spell-binding, is the elegant Alan Huisman as Badger, who comes to the aid of his lost friends in a snowstorm wearing a delicious plum robe and manners befitting minor royalty. Bowker and Huisman play with Mole and Badger’s sudden interest in meeting each other to the point of suggesting an attraction, but wisely underplay the subtext layer, letting it add, rather than distract, from the performance.

Finally, there’s Toad (Brian Quint), who perhaps could be hooked up to a generator and used to power the entire Seacoast  through this performance. He’s determined, he’s full of himself, and when he falls flat on his face, he’s humbled. Quint lets us enjoy every second of Toad’s tale as much as he does, and directs his vigorous energies accordingly.

Thorpe Feidt as the storyteller is charmingly sweet; Richard Harris as the put-upon Albert the horse is hilarious and endearing.  Kate Dubrowski and Carolyn Gallo as squirrels, rabbits, and other creatures are adorable and vivaciously add to the evening’s energy. Ed Hinton’s slick mannerisms and tweaked eyes as the Chief Weasel are truly terrifying, yet he manages to make us laugh all the same. And any time funnyman Noah Sheola takes the stage, be it as a rabbit, a gypsy, a fox or a stoat, it’s worth the price of the ticket.

Director Gary Locke conceived this show well, cast it well, and staged it well. In the end, this ensemble doesn’t need special tricks to capture the magic; they offer the greater gift of releasing it.