Acclaimed children's author and illustrator David McKee's much-loved classic Not Now, Bernard is set to tour the UK in a wildly funny new stage adaptation with one giant purple monster. Best known as the creator of the beloved Elmer books, McKee remains one of Britain's most celebrated children's storytellers. Packed with physical comedy and live music, Roustabout’s theatrical adaptation introduces a new generation to one of David McKee's most enduring picture books. It brings the whole family together, with Roustabout’s signature silliness and mischief for young people, and nostalgic nods for adults as they rediscover the story they grew up with.
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| In rehearsals. Photo by Camilla Evans |
First published in 1980, the book tells the story of Bernard. He's found a monster in the back garden, but his mum and dad are just too busy to notice. So Bernard tries to befriend the monster... and that doesn't go quite to plan. At its heart, Not Now, Bernard explores what happens when children feel unheard and looks at the importance of genuine connection. More than 40 years after its publication, these themes continue to resonate.
We sat down with cast member Shaelee Rooke to learn more about the show.
Not Now, Bernard relies heavily on physical comedy, mischief, and silliness. How have you approached translating David McKee’s iconic illustrations and Bernard’s story into a high-energy physical theatre performance on stage?
We started with workshops in nurseries and primary schools to explore how children responded to the characters and the style of the show. They absolutely loved the clowning and physical comedy, which we thought would appeal to an adult audience too — who doesn’t love Buster Keaton?!
During one of our R&Ds we focused on mime and worked closely with the one, the only, Les Bubb. What’s wonderful about creating a world through mime is that anything is possible - all you need is an imagination. Chuck in some live foley and sound effects and you get some wildly silly scenes. Designer Laura McEwen designed us a gorgeous set drenched in McKee’s bold palette, with giant moving, spinning flats. The result is a colourful, physical and highly stylised show, where the pages of the book come to life before your eyes.
When casting, we looked for people who had that twinkle of mischief in their eye. We were lucky to end up with an amazing group of performers — some who were part of the development process, and some who are in the final cast.
The production incorporates a dynamic range of storytelling techniques, including physical comedy and live music played on household objects. How does performing alongside live, reactive music shape your timing and performance?
On the one hand, it makes things easier and more fun. Our composer and sound designer, Robin Hemmings, is a quick witted mischief maker. You never know what surprise he has up his sleeve, and that makes it easy to genuinely react and amplifies the silliness. There is a scene where Bernard is playing in the kitchen. He’s a bored child with a very active imagination so all the appliances take on their own life… There’s a great moment when something unexpected pops out of the freezer.
On the other hand, combining performance, live music, foley and mime definitely ups the ante a bit! We all have to be so precise about timing and that takes a lot of rehearsal but is so satisfying when it works. I’m excited for audiences to experience it!
This adaptation naturally integrates Makaton signing throughout. What was the learning process like working with tutor Becca Hulbert, and how has embedding Makaton influenced the way you approach non-verbal communication on stage?
The process of integrating Makaton signing with mime reminded me how clear and simple non-verbal storytelling needs to be. Becca joined us for one of our R&D periods. She ensured that the integrated Makaton signing was part of the creative and devising process, rather than something added afterwards. First, she would teach us a sign. Then, once we were using it clearly, she encouraged us to play with it to see what games or physicality might arise from it.
For example, Bernard signs his name using the Makaton sign for “B”. When teaching this, Becca first watched us do the sign, checking for accuracy and clarity. Once that was established, she encouraged us to play with the sign - what else could that shape be? It could be the wheels of a car, it could be two bubbles, or it could be binoculars. Now the sign is not only a crucial part of the storytelling but has also become a game that Bernard plays with the audience. That feels like real integration.
Every performance of the tour is a relaxed performance to ensure an inclusive environment. How does this approach change the energy in the room and your connection with young audiences?
I think this approach serves to regularly remind us that the audience is as much a part of the show as we are! We are a bunch of clowns at heart, and clowns are always responsive to how the audience is receiving a show. That’s why it’s really useful to have young people present during our development and rehearsal periods. From their responses, we can sense whether we are hitting the right beat, the right tone, or even the right volume, and adjust accordingly. For example, just today, we asked our Children’s Board (made up of children from the school council of a local primary school who were attending rehearsals) about levels for the electric guitar. Like future sound engineers, they helped us find the volume that felt comfortable.
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| In rehearsals. Photo by Camilla Evans |
At its heart, the play explores family relationships, communication, and what happens when children feel unheard. Why do you think David McKee’s 1980 classic still resonates so strongly with both children and adults today?
Increasingly, there are so many things that compete for our attention. My to do list feels never ending and I find it really hard to put down my phone and be present with the people around me. This is why I think the book resonates with adults. It’s a cautionary tale, but it also reminds us how hard it can be to do this, to stay present and really listen to the people we’re with.
I think every child has probably heard “Not now!” at some point in their life, so Bernard’s experience is immediately recognisable. There’s something particularly appealing for children in seeing a character who is being ignored go off and have his own adventure. Bernard doesn’t get the attention he wants from his parents, but he does get to meet a monster — and suddenly he’s the one in charge of the situation. When he sees the monster, he doesn’t seem scared; in fact, he smiles almost presentationally. I think there’s something wonderfully liberating about Bernard’s response: he gets to step out of the rules of the everyday and into his own imagination, where anything can happen.
As both a performer and co-producer with Roustabout Theatre, how do you balance the administrative and creative sides of bringing a national UK tour to life?
That is a great question. I am lucky to work with an amazing co-producer, Alice Massey. In the past, I have made the mistake of taking on too much, and that was not fun! So, over the years, Alice and I have developed a system whereby, up until the start of rehearsals, I am involved in the producing side of things. But once rehearsals start, I take that hat off and focus solely on performing. I don’t want to be worrying about the budget while I’m trying to be in the moment on stage! Nor do I want to be writing an Arts Council application after doing two shows!
One of the lovely things about touring as a performer is that I often get to meet the producers and programmers who have booked us. Putting a face to a name, and having a bit of a chat, makes tour booking down the line that little bit easier — and much more personable.
Roustabout Theatre is known for collaborative devising. What was the most unexpected moment or visual gag that emerged during the rehearsal process?
OK so, Bernard’s Dad (played by Fionn Gill) has some pretty amazing breakdancing moves which came out early on in rehearsals. We were not expecting that! Nor were our Children’s Board who joined us in rehearsals today to give us some feedback. After the run, one of them said, “The Dad can moonwalk?! That is so cool!”.
The reason that moments like this emerge (and there are so many I could mention) is because our director, Toby Hulse, creates a wonderful rehearsal environment which is playful and open. He is the biggest “Yes, and!” person I know, and brings out a playful anarchic glee in people!
The original book brings nostalgic memories for adults while introducing young children to Bernard’s adventure for the first time. What has been the most rewarding part of performing for audiences made up of multiple generations sitting together?
One of our previous shows was a musical adaptation of Michael Foreman’s Dinosaurs and All That Rubbish. There was a song in that called Paradise, which was a real grab-the-people-you-love-and-hold-them kinda tune. Looking out into the audience and seeing a parent hugging their child, both invested in the story with a shared sense of wonder in their eyes, was pretty special.
I also remember one particular time, doing that same show at the beautiful Trebah Gardens in Cornwall. There were two adults in the audience, without any children, dressed in dinosaur dungarees with dinosaur socks. One even had a dinosaur backpack. They told us that they had come because they loved the book so much when they were kids. They even brought their childhood copy along with them, which they asked us to sign afterwards. It was pretty special to bring a beloved story to life, and to create an environment where people of any age felt welcome. Sometimes my friends who do not have children say “I hope it won’t be weird if I come to one of your shows” and I say, “No! Please come! It is as much for you as it is for the giggly three year old you may be sitting next to”.
I hope there are lots of moments like this on our upcoming tour!
Taking a show on a UK-wide tour means adapting to different venues every week. How do you keep the energy high and the physical comedy sharp show after show?
You know, the fact that we have to move around so much actually helps keep the show fresh. The space, the audience, the configuration of the stage is never the same. This keeps you on your toes. Also, I think the style of Roustabout’s work helps keep us sharp too. Through clown and direct address, we are right there with our audience, looking them in the eye, willing them to come along with us as we tell the story. And if that isn’t enough, we will be performing to children and young people and they are rarely shy about telling you what they think, even if it is mid show. Sometimes they even join in. When a child says something sweet or funny (which can sometimes completely steal the show!) it gives us something new to respond to, we may even find a new game!
Not Now, Bernard tours from 26th September with dates currently booking until 28th February 2027. For full tour dates and booking information, visit https://www.roustabouttheatre.co.uk/productions/not-now-bernard/
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| In rehearsals. Photo by Camilla Evans |
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