(reviewed at the Cambridge Arts Theatre on 6 December)
Tradition – a principal boy, the story set firmly in 1375, a slop scene – meets innovation in this version by Al Morley and Matt Crosby, directed by Carole Todd and choreographed by Kevan Allen. It has a strong cast with Holly Easterbrook as a dashing and boyish Dick and Paul Nicholas as a dominating King Rat, with wider than mere mayoral ambitions.
Our harassed merchant plagued with rats is Robert Duncan as Alderman Fitzwarren. Rhiannon Porter plays his daughter Alice; it is her birthday present from her father of a necklace which is stolen from his safe. Crosby has written a starring part for himself as Sarah and his son Idlle Jack (Robert Rees) lives up to his name by collapsing every time the word “work” is mentioned.
That slop scene mentioned above is in the ship’s galley, tilting ferociously in the storm – one could feel a trifle seasick watching it!. Act One ends with a spectacular white, gold and silver production number; no set designer is credited, but Sue Simmerling’s costumes and Mike Robertson’s lighting combine to fine effect.
King Rat’s main opponent is of course Fairy Bowbells (Dawn Hope). Hope’s slinky, glittering dress mirrors her brisk personality; this is a street-wise guardian for London. That also goes for Daniel Cummins as Tommy the Car. Here we have a moggie that talks as well, as miaous – not always effectively be it said. Catman indeed!
The adult ensemble do full justice to Allen’s choreography, supplemented by a well-rehearsed troupe of panto babes; they make excellent ratlings as well as young Londoners with perhaps just a hint of Fagin’s gang about their activities. Costumes for the dance numbers make a strong impact, so there’s plenty for the senior members of the audience to enjoy as well as their juniors.
Dick Whittington and His Cat runs at the Cambridge Arts Theatre until 8 January. Check the theatre website (cambridgeartstheatre.com) for performance times.