reviewed at the Gordon Craig Theatre, Ipswich on 10 December
This Chris Jordan pantomime is a traditional one in many ways. There’s a Principal Boy as Jack (Lisa Mathieson) and a scene-stealing Dame Trott (Paul Laidlaw). The multi-named cow (Dulcie? Clarabelle? Daisy?) deserves a programme credit in her own right and the beanstalk is sufficiently spectacular.
Cliff Parisi’s Fleshcreep rather lets it all down. He doesn’t really convince as the villain – too prone to lollop on and off stage and Melanie Masson’s Fairy Fuschiaa too easily dominates him. Mathieson makes an attractive hero who deserves to win Victoria Farley’s Princess Jill.
Of the two main comics, Laidlaw has the audience in the palm of his hand from first entrance, and Aidan O’Neill’s Simple Simon doesn’t take long to recruit us all in his gang. Siôn Tudor Owen plays King Custard and Matt Lee-Steer doubles the Town Crier and the ferocious, ravening Giant Blunderbore.
The choreography of Ashley Glazebrook and Glen Murphy (aka Twist and Pulse) at times taxes the female dancers of the ensemble, though the men have some eye-riveting leaps and turns to compensate. James Cleeve’s band is ensconced at audience level stage left and the standard of singing throughout is good; Laidlaw’s farewell to her cow stills the house.
Three and a half-star rating.
Jack and the Beanstalk runs at the Gordon Craig Theatre until 28 January. Performance dates and times vary. Check with the theatre’s box office at :www.gordon-craig.co.uk for availability.
(reviewed at the Gordon Craig Theatre, Steveange on 16 December).
The trouble with staging JM Barrie’s classic children’s story at Chrstmastime can be that it either tips too far into established pantomime territory, or lacks any seasonal feeling. Chris Jordan’s version, new to East Anglia, manages to tread the tightrope with a flourish. There’s a nice London street opening, with a a medley of music-hall songs and dances, led by Paul Laidlaw who we meet again later as Mrs Smee. This also serves to introduce the Darling family with the household head (Tom Lister) displaying the arrogance which will also colour his Captain Hook.
Settings are simple but effective with attractive costumes by Shelley Claridge and very well lit by Douglas Morgan. The band – tucked away stage left in a sort of theatre-box – is led by James Cleeve. The put-upon Mrs Darling is played by Sinead Long, who later transforms into the Mermaid. That bolshie fairy Tinker Bell whirls across the stage on roller-skates; Amanda Coutts balances her resentment of Wendy credibly with her affection for Peter.
Ewan Goddard depicts him as a youth with a sense of right and wrong but no real feelings of the sort which might drag him into the human world. He and Lister play off each other cleverly, with Laura Baldwin’s Wendy nicely suggesting a girl who has to take on rather more adult responsibilities than she had bargained for. Choreographers Twist & Pulse (aka Ashley Glazebrook and Glen Muphy) contribute a pair of less than competent members of Hook’s crew. With Aidan O’Neill’s Smee they lead the comedy scenes.
Laidlaw is an audience favourite at this theatre and knows just how far he can go with the involvement of the unsuspecting man selected for Mrs Smee’s amorous attention. The crocodile is a wondrous creation, and the submerged glitter pool from which the mermaid emerges in the second act is another effective touch. The four adult members of the ensemble and the juvenile performers carry off their routines with aplomb.
Peter Pan runs at the Gordon Craig Theatre, Stevenage until 22 January. Check the theatre’s website ((gordon-craig.co.uk) for performances times.
(reviewed at the Gordon Craig Theatre, Stevenage on 4 December 2015)
There are a number of commercial producers of pantomimes; not all of them have the production values of Eastbourne-based Chris Jordan. This year sees The Sleeping Beauty trapped by the vengeful Carabosse in Stevenage. The sets and costumes (Shelley Claridge) are colourful and there’s some excellent choreography by Philip Joel.
We begin with Fairy Fortywinks (Nicola Bryan) confronting the much more powerful Carabosse (Wendi Peters), an immortal with grievances. Lots of them.King Clarence (Paul Bentley) is missing his late wife and seeking a suitable prince to marry his daughter Belle (Daniella Piper). She doesn’t take kindly to being cosseted either by her father or by Nellie Night Nurse ((Paul Laidlaw).
Laidlaw is an experienced Dame, of the cuddly rather than abrasive variety. Son Chester (Aidan O’Neill) is the Court Jester and, of course, secretly in love with Belle. That doesn’t make Prince Valiant (Gregor Stewart)’s task any easier as he goes in search of a suitable bride. The “Love me” duet is an attractive number.
Carabosse has a team of helpers, and very nasty they are too. There’s an attractive duet for Belle and Valiant before the spectacular final to the first act. In Act Two we have Nellie’s famous strip-tease as well as a time machine (not a million miles from Dr Who’s police-box) to take everyone forward a hundred years.
The Sleeping Beauty runs at the Gordon Craig Theatre, Stevenage until 24 January.
There’s a dragon in the ghost scene, which makes a nice change, and at least one spectacular exit through the orchestra pit – James Cleeve’s domain. Innovations are carefully blended with the expected traditional – such as the kitchen scene. And Fairy Fortywinks may keep on dropping off at crucial moments – but she has a winning way with her trumpet.