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The Secret Garden by Frances Hodgson Burnett is a classic children’s tale that I think adults can enjoy too.
The Secret Garden is a tale of Mary Lennox, an orphaned girl around the age of ten, who is sent to live at Misselthwaite Manor in Yorkshire, England with her uncle Mr.
I knew this story inside and out because I had seen the movie several times before I knew that it was based on the book written by Burnett. Although, this story by the description can sound rather morbid, with Mary being sickly and orphaned when she arrives, her uncle being an unhappy widowed hunchback and Colin being doomed to a sad, unhealthy and short life, it is actually a story of hope.
Since I studied psychology, I know that in the past, people with mental health disorders were locked up (usually chained) in the cold, dark basements of asylums. I think that it is a great story for children and it also makes me want to spend more time outside and for anyone who is interested in flowers or gardening, I’m sure it would get you itching to get gardening.
I could reread The Lion, the Witch, and the Wardrobe one hundred times and never fail to notice something new.
I LIKED THIS NOVEL THE SECRET GARDEN AS IT CREATES LIVELINESS AND ENCOURAGES TO DO SOMETHING . I love the book so far!I am reading the book for book club and my hole group likes it.You have inspired me to do more,with writing.
Nicole BasarabaNicole Basaraba is a Canadian writer focusing on topics of travel, culture, literature and publishing, and communications. What do Miss Saigon, Grand Hotel, City Of Angels, Aspects Of Love, Will Rogers Follies, and Meet Me In St Louis have in common? There is another musical that belongs with the aforementioned overblown trivialities, and productions of it keep sprouting up like weeds (probably because it is far easier to stage than a flying helicopter): I refer to The Secret Garden, The Musical (1991). In the last year, The Chance Theater has shown what amazing work can be done in a small venue (Merrily We Roll Along, The Who’s Tommy, The Goat) but even this adventurous company – with their superlative acting, creative directing, and lovely design – can’t make a silk purse from a sow’s ear of a musical. The story is powerful enough to have spawned numerous interpretations, including dance and film: 11-year-old Mary Lennox (Sarah Pierce) is orphaned in India and sent to Yorkshire to live with her uncle Archibald Craven (Paul Kehler), a hunchbacked man incapable of overcoming his decade-long grief over the death of his wife, Lily (Laura M. Burnett’s book centers around Mary and her relationships to Colin, a young chambermaid named Martha (Kellie Spill), and Martha’s brother Dickon (Kyle Cooper), who is some kind of groundskeeper druid that may or may not be able to talk to robins.

Once Mary finds the entrance to the secret garden, she puts her key in the door and walks in (she was led to the key by Dickon’s robin); this ends Act I.
Decaying Gardens mean Unresolved Emotions, Magical Robin means Positive Outlook, Spirit-disturbing Dreams means Not Letting Go of The Past: maybe this should have been called Metaphor, The Musical!
What makes this particular production feel treacle-free is the all-around superlative performances.
I can say that there are a few discrepancies in the story between the movie and the book, but it stayed mostly true to Burnett’s world. Once the patients were given access to the grounds and fresh air, they began to improve with this adjustment to their lifestyle alone. Craven’s journey to health and happiness and this growth is paralleled in the awakening and fostering of the secret garden. I enjoyed reading the book so much that I want to read it again just so I can stay in the Secret Garden longer. Based on Frances Hodgson Burnett’s beloved 1911 novel, this musical oddity pairs the uneven music of first time Broadway composer Lucy Simon (Carly’s sister) with undistinguished lyrics by Pulitzer Prize-winner Marsha Norman (‘Night, Mother), whose poorly constructed libretto is at least seasoned with some wonderful dialogue, which gives some justification to her Tony Award for Best Book of a Musical. Hathaway), who haunts the large manor house, along with other ghosts of Mary and Archibald’s past. By adding more emphasis on the adults, Norman spends more time on back story – her exposition is so convoluted, however, that one may get confused and frustrated. We surmise that the tale will really pick up when we find what is inside, but at the top of Act II we find that the garden is not full of secrets, bones, or mystery…just weeds. The Chance production is more than honorable and is most suitable for families with children (who will certainly be enchanted by Mary and Dickon’s effect on Colin).
Known as Mistress Mary Quite Contrary when she arrives in England, Mary soon finds an appreciation for the moorland and gardens. The symbolism is simple, but is weaved in so well that the reader can enjoy watching the simultaneous growths.
However, this story focuses heavily on description and most of the time, it is a pleasure to read.

I enjoy many children’s stories,too many to name here, but some of my faves are by EB White, Roald Dahl, JK Rowling, Eve Bunting, and CS Lewis. I think that children’s classics might be on the horizon for this book club for a few more months because there are so many good ones to read!
Some are barely worthy of attention, yet they are revived far more often than they should be. Mary discovers that she has a cousin, Colin (Dillon Klena), who has been bedridden for fear that he will turn out like his hunchback father. The opening number introduces characters, including a Fakir, a Major, and an Ayah (whatever the heck that is), who speak with Mary, but then inhabit the manor as spirits.
Pierce is a redoubtable triple-threat as Mary – not only is she a great singer and dancer, but that girl has some astoundingly natural acting chops. The huge wave of love emanating from the cast at the end may even bring a tear to your eye. Dickon, the brother of Martha who is one of the manor’s servants, being savvy with nature, helps her grow the garden. There are times though that you may find yourself reading over some paragraphs that seem very similar to previous descriptions of the nature.
The design team creates some beautiful scenes of light and shadow, but that score, which vacillates between pop ballads and derivative Sherman Brothers good-time simplicity, is so bereft of suspense that I doubt Hitchcock himself could have made the proceedings any spookier.  This production has some gorgeous trappings, but the spirits don’t seem spine-chilling, and there is a void of tension and threat (maybe the ghosts – called “Dreamers” in the script – are too busy moving set pieces for us to take them seriously as apparitions). After she spends some time outside in the fresh air, running, listening to birds and animals, and looking at the nature, she beings to grow stronger and healthier. It certainly doesn’t help when those poor actors are assigned different lyrics at the same time.

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