Wind of change

A new version of Kenneth Grahame's classic marks a new era of experimentation and access at the Royal Opera House's smaller spaces, says Nadine Meisner

"Hullo, Mole!" "Hullo, Rat!" "Hullo, Toad!" Yes, it's time for the River Bank and the Wild Wood, for Toad Hall and Toad's shiny new motor car, painted bright red; and Toad himself in "goggles, cap, gaiters and enormous overcoat". Kenneth Grahame's The Wind in the Willows is upon us, not in the Alan Bennett version that was a hit at the Royal National Theatre a few years back, but in a new mixed-media production by the Royal Ballet (RB) choreographer William Tuckett. It brings together singers, dancers, a narrative by the poet Andrew Motion and a live narrator in the shape of the former RB director Anthony Dowell. It aims, its publicity says, "to entertain and charm audiences from 5 to 105." But its premiere has an extra dimension, because it marks the first production under the aegis of ROH2.

We've all heard of the Royal Opera House – or ROH, for those wanting to imply intimate acquaintanceship. But here comes ROH2 – maybe we can expect ROH3 and ROH4 in the future – headed by Deborah Bull, former RB principal and now TV personality, writer and celebrity. ROH2 forms a new strand, with its own team and budget, alongside the Royal Opera and Royal Ballet. It's responsible for the activity away from the main stage, in the Linbury Studio Theatre, the Clore Studio, the foyer spaces. Its aim is, according to Bull, "to develop new art and new artists and to welcome new artists to the Royal Opera House."

Bull was already in charge of the Artists Development Initiative (ADI), launched when the ROH reopened and focusing largely on the Clore Studio. That will remain, as part of ROH2. There will consequently be further ADI collaborations between outside and inside artists, away from the pressures of a large audience. "The Clore will never be a place for big box-office revenue," says Bull. "It will continue to be a space to allow people to try out ideas in a non-threatening context and feel totally free to experiment with their ideas."

Downstairs, though, in the Linbury Studio Theatre, life has been far from exciting. The standard of the brought-in ensembles has been largely disappointing; for the first two years, the ROH couldn't afford anything more. Now, there is a budget for ROH2 and a raft of fresh schemes, although outside companies will continue to have some access. One scheme consists of partnerships with other companies, in a way not dissimilar – as Philippa Rooke, ROH2's producer, explains – from artists' residencies such as that offered to Wayne McGregor's Random Dance Company by Sadler's Wells. The partners will mount co-productions, as recently happened with Music Theatre Wales and the revival of Nigel Osborne's The Electrification of the Soviet Union. Incoming partners may bring an angle that is outside the ROH's sphere of expertise, as will happen with Nitro (formerly the Black Music Theatre Co-operative) when it presents a programme called Nitro at the ROH, in which black composers will be given the opportunity to work on a range of operatic voices.

Another scheme involves appointing a number of associate artists, who will benefit from the ROH's facilities as well as working on collaborations. They could be sculptors, Rooke says, or composers, or even scientists who could conduct studies on, say, performers that might interest people and audiences at the ROH. The first associate has already been announced: the young choreographer Cathy Marston. Another will be named in the new year. Marston has been commissioned to create a programme for the Linbury that will link up with Nicholas Maw's opera Sophie's Choice on the main stage. The result is a dance double bill, Sophie/Stateless, to be premiered on 11 January.

That connection with Maw's opera is an important item in Bull's remit: to produce work that will enhance what is happening on the main stage. "From time to time we will sing to the same tune," says Bull. "When there is something exciting on the main stage, there will be a series of satellite events that may complement, illustrate or supplement the theme."

Another item in her remit is the organisation of what she calls "cross-genre" events connecting the ROH's different art forms. Hence, The Wind in the Willows, which embraces music, dance, song and poetry. Item three for Bull is that ticket prices should be low (maximum £18.50 for Wind) to give credence to the ROH's declared intention to welcome humble taxpayers, even though the main auditorium mostly preserves its élitist ways. Item four is that the individuals involved can belong outside the opera house's two companies. With the exceptions of Tuckett and the RB's Iohna Loots, The Wind in the Willows is populated by freelancers, ex-RB dancers and a Vilar Young Artist, Yuval Zorn, as conductor.

The composer Martin Ward used to work in the ROH's music library, which is how he came to know Tuckett. He and Tuckett worked collaboratively, evolving a running order. His task has been more that of an arranger, taking George Butterworth's music as starting-point. "We wanted a score based on an English composer and listened to no end of people. I decided eventually on George Butterworth because his music so vividly evokes the atmosphere of an English river bank and the era suggested by the designs." It has, though, needed some pepping up. "It's lovely pastoral music, very lyrical, but not animated enough for the intensity of action."

Matthew Hart is Toad; Luke Heydon, the Chief Weasel; and Adam Cooper, Badger. "Very grumpy, very un-me," says Cooper. "He's older than the other characters and they're all a bit scared of him, but as the story progresses you see another side to his character." Cooper loves working with Tuckett. "I've always tried to be in his pieces. And this one is clever in the way the different elements slot together – it's not just a dance version of Kenneth Grahame's book." It was, though, touch and go whether he would be available, because of the possibility that On Your Toes, the musical he starred in at the Leicester Haymarket, might transfer to London around the same time. The ROH2 team were granted their wish – at least for the time being – since the transfer may still happen next year.

They are hoping The Wind in the Willows will have life in other theatres after the Linbury performances. Meanwhile, the identical twins known as the Brothers Quay have designed a set of shifting objects and furniture; and Chris Harding-Roberts, the production manager, has to ponder how to keep the health-and-safety inspector happy about the audience being subjected to a downfall of potentially slippery snow. You have been warned.

'The Wind in the Willows', Linbury Studio Theatre, ROH, London WC2 (020-7304 4000), 10-15 & 20-22 December