William’s family and neighbours face a dilemma. They can struggle on against the odds, they can leave to find work in the city, or they can cash in their smallholdings to land-grabbers for crops like tobacco.

William’s story is played out with warmth and energy in this musical production by the RSC. Desperate for education, he is barred from school because his father, a farmer, is unable to pay the fees. But, supported by his science teacher and the school librarian, he gets hold of books. And the local scrap yard is his playground.

Initially sceptical, his family and peers begin to see that William is onto something. Eventually, his ambition to harness the wind to drive a pump that will provide water for the village becomes a community affair.

The spirit of Malawi and its pride in its cultural traditions shine through in the production’s song, dance and colourful costumes. A large cast delivers beautiful harmonies, and the dancing is exuberant. Singing is used for celebrations and for lamentations, its impact enhanced by ululations of the women and impressive percussion-playing by Jason Chowdhury.

There are moments when the song is quieter, expressing intimacy or humour. At one point, the women use it to joke with each other about a cat that has been lost. At other moments, song is used to reflect and strengthen the sense of community – the full cast singing as William’s windmill is constructed is stirring.

Soloists, particularly Sifiso Mazibuko as William’s father, Trywell, and Madeline Appiah as his sister, Agnes, have wonderful voices. Performances across the whole cast are enjoyable, with the portrayal of friendship between William, played by Alistair Nwachukwu, and Gilbert, played by Idriss Kargbo, being especially notable.

But the decision to turn the story into a musical is not without its problems. Driven by the genre, there is an inevitability about the performance of yet another song and dance routine. The First Act, in particular, gives little space for the drama to emerge or for the characters to come alive.

Whilst many of the songs are strong in colour and texture, others feel a little bland. Issues with headset microphones also mean it is difficult, at times, to tell who is singing or speaking, limiting the sense of the characters on stage.

Act II is stronger, the tone becoming more nuanced, and a sense of rising tension and of drama is allowed to develop. The final scene, with the onstage construction of the windmill, is a triumph.

Based on a real story of ingenuity, resilience and hope, The Boy Who Harnessed the Wind tackles important issues. The production is bold and colourful, strongly performed and has some lovely harmony singing. With some tightening up of the First Act and more space for characters to emerge, the RSC could be on to something with this one.

The Boy Who Harnessed the Wind was adapted from/based on the book by William Kamkwamba and Bryan Mealer and Potboiler Productions Film.

It was directed by Lynette Linton. Book and lyrics were by Richy Hughes. Music and Lyrics were by Tim Sutton. Set and costume designer was Frankie Bradshaw. Choreographer and intimacy director was Shelley Maxwell.

The Boy Who Harnessed the Wind is on at the RSC until 28th March. For further information visit rsc.org.uk