(reviewed at the New Wolsey Theatre, Ipswich on 29 November)
Trust Peter Rowe and the New Wolsey Theatre to come up with a variation on the traditional pantomime. Sinbad is a story which has somehow slipped from the 21st century repertoire, though it was popular in the 19th. Here Rowe has given it his theatre’s regular rock’n’roll treatment – with some unusual twists.
As one expects nowadays, the heroine is no languishing miss; Pricess Pearl (Daniella Piper) knows exactly what (and who) she wants – and that certainly doesn’t include her father the Caliph (Daniel Carter Hope)’s selection of wealthy magician Sinistro (Dan de Cruz) as her husband. Her put-upon handmaiden Jade (Lucy Wells) is also a lass with a mind of her own.
The trouble for both girls is that sailors are slippery creatures, none more so than Sinbad himself (Steve Rushton) and his bosun (Adam Langstaff). Running away to sea might have seemed an easy option on dry land, but once sails are set… Also on board are Sinbad’s mother Donna Souvlakia (Graham Hent) – no prizes for guessing just which foodstuffs this raucous Dame purveys!
Particularly interesting is the second comic role – Tinbad the Tailor, an erudite nod by Rowe and the excellent Rob Falconer in the direction of James Joyce. He comes close to stealing the whole show with his sly wooing of think-I-can-do-better Donna. Our story-teller is, of course, Scheherezade (Elizabeth Rowe), an engaging dea ex machina.
All three girls sing well, as does Rushton and (when he is finally allowed to let rip) de Cruz. Darragh O’leary’s choreography is of the step, shuffle, turn school, though the eyelash-fluttering dromendary (well, it makes a change from a cow) manages some nifty footwork. Puppets, as New Wolsey audiences now expect, pop up from grave-traps and gaps in the flats; the designer is Barney George.
Sinbad runs at the New Wolsey Theatre, Ipswich until 28 January. Check the website
wolseytheatre.co.uk for performance date and time details.
(reviewed at the New Wolsey Theatre, Ipswich on 8 December 2015)
This year’s rock-n’roll Christmas show at the New Wolsey Theatre marks a theme departure by writer and director Peter Rowe. He’s based it on the TH White version of the Arthurian legends The Sword in the Stone which describes how a young foundling developed into King Arthur, with considerable help and tutelage by the wizard Merlin.
We meet the shy, amenable Sprout (a thoroughly engaging Sandy Grigelis) as he comes through boyhood at the castle of Sir Cedric Scuttlebutt (Daniel Carter-hope) and is bullied by Sir Cedric’s clod of a son Kay (Rob Falconer). What’s left of post-Roman Britain is being constantly invaded by barbarian hordes while the seven kingdoms into which it has fractured feud as much within themselves as against what should be a common enemy.
Sir Cedric is in charge of martial training. For the romantic side of chivalry he has engaged Bernadette Broadbottom (a masculine sort of Dam as played by Graham Kent). Also in the household is Guinevere (Lucy Wells), a young lady who takes to action as enthusiastically as to learning how to be an object of courtly desire. Magic is taught by Merlin (Sean Kingsley), whose special concern is for the Sprout, though Guinevere proves herslef to be an apt pupil.
Then there’s fellow magician Morgana Le Fay (Georgina White), gleaming in purple,wielding a magic staff to equal Merlin’s and as ambitious for her thoroughly unpleasant son Mordred (Steve Simmonds) as Sir Cedric is for his. It is the series of combats both mental and physical between these two which really hold the story together.
If you’ve been to an Ipswich pantomime before, you’ll know that the cast play all the instruments – mainly brass and amplified guitars – as well as acting and singing. The noise level is high, only slightly softening for Grigelis’ first act song and the second act duet with Wells. There were many moments when my ears ached for something quieter, and without the double amplification of throat and hand-held mikes.
As is now the custom with pantomimes, one audience member was picked on as the main butt of Kent’ attentions; a second one targeted by Falconer proved less amenable – and who could blame her? This is a gimmick which really should be moth-balled. The excellent set (much use of grave traps) is by Barney George. The dragon guarding the stolen Excalibur is very well done and the animal puppets peeping out from time to time in wood and castle are a delight. The choreography is by Darragh O’Leary.
The Sword in the Stone runs at the New Wolsey Theatre, Ipswich until 30 January.