Ticket was gifted in return for an honest review.
The Boy Who Harnessed The Wind is an ambitious new musical that attempts to capture the inspiring true story of William Kamkwamba, a young boy in Malawi who defied the odds by building a windmill to save his community from drought. Despite its powerful message, the production feels like it is still finding its footing.
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| Alistair Nwachuku. Photo by Tyler Fayose. |
Kamkwamba's memoirs, co-written by Bryan Mealer, were turned into a 2019 film starring Chiwetel Ejiofor and now the story hits the stage for a musical celebration of this remarkable true tale. Directed by Lynette Linton, the show is filled with texture and colour and sprinkled with humour and warmth.
At the heart of the story is William's unwavering determination to create something out of nothing. The narrative dives deep into the struggle of living in a drought-stricken land where hope seems scarce. William’s journey is marked by moments of both despair and resilience, but at times, the emotional beats fall flat, leaving the audience yearning for a stronger connection to his plight.
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| Madeline Appiah and Sifiso Mazibuko. Photo by Tyler Fayose. |
What is lacking here is the sense of the darker elements. It does become almost too feel-good at times. The tone rarely allows for the harsher moments to land. The famine, when the drought comes, doesn't feel the life-threatening danger that it could. It's only when death begins to surround proceedings that the tone actually goes a little darker. There is a really touching moment between William (Alistair Nwachukwu) and his canine best friend, Khamba (superbly puppeteered by Yana Penrose).
Linton brings some fresh ideas and energy, though certain scenes feel rushed and could benefit from a more deliberate pacing to allow the audience to fully absorb the gravity of the situation. Frankie Bradshaw's impressive design is gorgeously imagined in the tight surroundings of The Swan stage with bright colours and fabrics, with plenty of corrugated iron and battered props around. There is an ingenious use of lighting designed by Oliver Fenwick and video designed by Gino Ricardo Green. The use of both to show wind is really clever.
For what the piece may lack in terms of text, the performances collectively are outstanding. The energy levels are constantly high, and Shelley Maxwell's choreography exuberantly fills the stage. At the heart of the tale is Alistair Nwachukwu's William; here is a real star-making turn performance. Nwachukwu superbly captures William's feelings, as he is dismissed from school for not being able to pay the fees, and his drive and determination to realise his vision for wind power. The first act sidelines the character a little, leaving William a little lost in the song and dance, but thankfully, act two does balance this out and the character comes to the fore as he realises that vision.
There's a beautiful friendship between William and Gilbert Mofat, played by Idris Kargbo. Gilbert, the son of the village chief, is undeniably sweet as he stands by William after he is dismissed from school. There's even some romance here, not just between William's parents but also his sister, superbly played by Tsemaye Bob-Egbe and school teacher Mike, played by Owen Chaponda.
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| McCallam Connell, Shaka Kalohoh, Eddie Elliott, Alistair Nwachukwu, Choolwe Laina Muntanga, Newtion Matthews and Tomi Ogbaro. Photo by Tyler Fayose. |
Sifiso Mazibuko is excellent as William's father, Trywell. The clashes with William are staged with real feeling, so that you can sense how difficult it is for Trywell, who simply wants to continue to provide for the family, where he can even if it means one meal a day. Mazibuko sings beautifully too; his heartfelt delivery of 'This I Know' is one of the most striking musical moments. Madeline Appiah is also tremendous as William's mother, Agnes. Appiah has a great knack for showing emotion and is compelling to watch. Together, they both give heartwarming and moving performances as William's parents.
Musically, Tim Sutton has crafted a score that is uplifting and occasionally beautiful, with standout numbers that showcase both the cast’s talent and William’s fervent spirit. There are plenty of euphoric, joy-filled Africana beats with excellent percussion. However, not every song lands; there could be more musical moments that allow the tone to shift.
Overall, The Boy Who Harnessed The Wind is a commendable effort to bring an important story to the stage, but it still has room to grow. With a bit more refinement and focus, particularly in the first act, it has the potential to be as impactful as the message it carries. It’s worth seeing, especially for those who appreciate stories of perseverance and innovation. You leave the theatre feeling a sense of joy and wanting to find out more about William's real life story.
⭐⭐⭐
The Boy Who Harnessed The Wind runs at the RSC in Stratford until Saturday 28th March before it transfers to Soho Place in London from 25th April until 18th July 2026. For tickets and more information, visit https://www.rsc.org.uk/the-boy-who-harnessed-the-wind
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| Newtion Matthews, Choolwe Laina Muntanga, Shaka Kalokoh, Eddie Elliott and Yana Penrose. Photo by Tyler Fayose |
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