THE BOOK OF EVERYTHING
THE BOOK OF EVERYTHING, Upstairs Theatre, Belvoir St Theatre and Theatre of Image, 23 August-20 September 2026. Photography by Brett Boardman
Dutch children’s author Guus Kuijer, now 84, is both hugely prolific and popular in Europe. His 2004 bestseller, Het boek van alle dingen, was translated into English and adapted for the stage by Richard Tulloch, himself a prolific and popular writer of all kinds of works for children. As The Book of Everything, it’s now back at Belvoir after the initial successful 2010-2013 runs in Sydney and Melbourne.
At what feels like particularly dark times around the world, its hero, the nine- (almost ten!-) year-old Thomas Klopper (Matthew Whittet), is a welcome sunny presence as he navigates his own peculiar life. His home is represented as whimsically illustrated pages of a giant book whose leaves are turned to reveal the rooms (design Kim Carpenter and subtle lighting by Nigel Levings).
Kuijer was born two years into the Nazi occupation of the Netherlands and his childhood was blighted by WW2 and its social and economic aftermath. Much of young Guus is in Thomas, particularly his inability to believe in God and the Bible. Instead of Nazis, he witnesses his Calvinist father (John Gaden) brutally beating dutiful wife (Claire Jones), and taking to Thomas with a long-handled wooden spoon, all in the name of the Bible and obedience.
Thomas’s sister Margot (Rebecca Massey) escapes paternal physical violence by sheer bravado – naturally, the bully is a coward behind the bluster – and she torments Thomas with affectionate glee. Next door, and privy to most goings-on through the thin walls, is the colourful, if black-clad, Mrs Van Amersfoort (Julie Forsyth). To the local kids she’s a witch who will probably eat them, or worse, but gradually, Thomas discovers otherwise.
Also in his orbit is his paternal Aunt Pie (Pamela Rabe) who ferociously bicycles and finds many other wicked ways to outrage her brother-in-law. Then there’s Eliza (Bridie McKim) who lives with a squeaky, leather prosthetic leg and the expectation of disgust and rejection, but is charmed by Thomas when he’s instantly smitten. She’s almost 16, but he insists he will marry her one day, if she’ll wait.
Finally, there are the guppies – small fish Thomas sees in the canal, much to his father’s fury – and Jesus (John Leary). Thomas sees him everywhere because He likes to hang out, and doesn’t get on with his Father either; and he looks like Jeffrey Hunter in King of Kings. Small wonder that Thomas is confused by life.
Director Neil Armfield’s light but sure hand was responsible for the first production – which featured Whittet, Jones, Forsyth and Leary – and the new cast members fit in seamlessly and are uniformly splendid. Essentially it’s a show for adults whose inner children are close to the surface, and for children who hate being treated as kids. The result is an evening that never patronises nor drops into cuteness nor sentimentality.
In our audience, on the season’s second night, was a contingent of young teenage boys from a school that obviously has good behaviour high on the curriculum. They were rapt throughout and scrambled to participate when called upon. It somehow emphasised the humanity at the heart of the story and the production.
The production is punctuated at various moments by Jack Ward who, from his eyrie, plays piano, cello, bass drum and various FX. It prioritises the playfulness of events without detracting from the underlying seriousness. And if anyone’s fears for their kiddywinks’ tender sensibilities, just think of the Brothers Grimm, Roald Dahl, Neil Gaiman or Edward Gorey, for starters.
It’s more likely that some might take umbrage at the portrayal of Jesus, who did not like being crucified one bit. He’s a jokester and too cool for Heaven. Blasphemy springs to mind – and should be swatted with a long-handled wooden spoon. (Kuijer’s most recent publications are the volumes of The Bible For Unbelievers. So far, only the first – Genesis – has been translated into English.)
It’s through books that Thomas and Mrs Van Amersfoort bond, and through the courage of Margot and Aunt Pie that life begins to look up. In the end, it’s the power of love, story, and imagination, plus a bit of Ogden Nash, that win out against ignorance, bigotry, and fear. Recommended for adults of all ages from 10 and up.
