Tag Archives: Pantos

Peter Pan

(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.

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Filed under Family & children's shows, Pantomimes & other seasonal shows, Reviews 2016

Jack and the Beanstalk

(reviewed at the Theatre Royal, Norwich on 15 December)

What can you do with a favourite pantomime story which both keeps the traditional narrative flow and yet brings it into an unusual context? Richard Gauntlett as writer, director and Dame with costume designer Kisteen Wythe and choreographer Dee Jago seem to have re-discovered the magic formula with a Jack and the Beanstalk given a country’n’western makeover. We’re in prospecting country sometime in the late 1890s.

Another twist is that the Giant is not the main villain of the piece, rather that’s his boss Phineas P Stinkworthy. As this extremely dodgy and mercenary character is played by Wayne Sleep, he really gives the good guys a run for their money, let alone their ultimate success. What’s more, Sleep not only shows that he can still do fast turns from one side of the stage to the other – he also contributes a show-stopping tap number.

Gauntlett knows just how to play Dame; Nigella Trottalot runs the eponymous cattle and chicken ranch with minimal assistance from her sons Jack (David Burilin) and Billy (Ben Langley). Langley measures up to the comedy sequences, including the ghosties and ghoulies scene and the kitchen slop scene. Burilin conveys a nice sense of Oklahoma!-style naïveté, like that musical’s hero Curly, as he does his best to be helpful while wooing Jolene (Mira Ormale), the daughter of David Gant’s Sheriff Hiccup. Their voices blend together extremely well.

Pantomime fairies come in all shapes and guises these days. Here we have saloon proprietress Dolly, who arrives air-borne and runs an establishment which patently caters for our its frequenters’ needs. Harriet Bunton lays on the glitter as well as the required brashness to good effect. led by David Carter makes a sparkling contribution to thhe song and dance numbers. It’s all enough to send one out of the theatre prepared to go out West the very next day. Top marks to all concerned.

Jack and the Beanstalk runs at the Theatre Royal, Norwich until 15 January. Check the theatre website (theatreroyalnorwich.co.uk) for performance times.

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Beauty and the Beast

(reviewed at the Palace Theatre, Watford on 8 December)

This year’s seasonal production boasts another of Andrew Pollard’s intelligently ear-engaging scripts; this time he and director Eleanor Rhode have tweaked the familiar story to produce what one might describe as pared-down panto. The format works very well, with a predominantly schools audience at the performance which I saw being thoroughly engrossed in the story’s nuances.

We’re in fin de siècle Paris. Spice merchant M Marzipan (Neil Stewart) needs to replenish his stock of sugar urgently, but he lacks the cash to do so until his ship (literally) comes home. In the meantime his younger daughter Soufflé (Jill McAusland) is spending money at luxury boutiques regardless, while his sister Amorette (Arabella Rodrigo) has her nose in a book most of the time.

Also in need of sugar is sweet-vendor Betty Bonbon (Terence Frisch) – you are going to learn quite a lot of French when she’s on stage. Frisch is an experienced Dame, one who knows just how to milk an audience, whatever its age group. Stewart plays well off him, notably in the second-act slop scene – well, you try making a sugarless cake! The point is that the majority of the characters come over as people, not just types.

Manipulating the action is the nasty Spite (Hollie Cassar), a witch of the first water who can put over a nifty tap-dance as well as her songs. Trying to counter her is Charlie Cupid (Dale Mathurin), a demi-god who would rather be an ordinary mortal. As I said, there are novel twists in this version of the story. Cursed by Spite, it’s no wonder that Robbie Smith’s Beast has grown morose and vengeful.

Cleo Petitt’s sets and costumes work well, with slightly distorted angles to the Beast/Prince’s castle and a clever black-theatre sequence when Marzipan and Bonbon find themselves at the castle, thanks to Cupid. This tytpe of staging proves that you don’t necessarily need a song-and-dance ensemble or a juvenile troupe to fill the stage. After all, theatre is magic – and when more so than at Christmas?

Beauty and the Beast runs at the Palace Theatre, Watford until 312 January. Check the theatre website (watfordpalacetheatre.co.uk) for performance times.

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Cinderella

(reviewed at the Queen’s Theatre, Hornchurch on 5 December)

 

This is probably the favourite pantomime story, which raises high empectations in its audiences. The magic trick is to blend the familiar, much-loved rags-to-riches story with enough variations to spice it up while never smothering its essence. Andrew Pollard’s script in Martin Berry’s production manages to achieve just that balance.

The Queen’s Theatre tradition of using actor-musicians comes into its own – Natasha Lewis’ Cinderella must be the only trombone-playing one  in this year’s national crop. Jonathan Charles’ Dandini is a wandering fiddle-player, taken on by Jamie Noar’s Prince Charming, desperately trying to disentangle himself from his father’s plans for his future.

No Baron Hardup in this version. Rather, we have his spiteful widow (Georgina Field) keeping her two chip-off-the-matriachal-block daughters Miley (Simon Pontin) and Kylie (Carl Patrick) very much under her sharp-nailed thumb. No wonder the household is reduced to a single servant, Buttons (Alex Tomkins), who only stays because of Cinderella.

Mark Walters has designed a deceptively sumptuous set and costumes in a vaguely late 18th century style. Joshua Good man is the hard-working musical director, joined in the pit by Al Twist and Sarah Workman, and the on-stage cast. Field has a commanding way with a saxaphone, even when Liz Marsh’s choeography keeps her feet fully employed.

That all-important wow! factor comes also from Etisyai Philip’s Fairy Godmother, who manipulates the whole story, including Cinderella’s swan-drawn carriage as she leaves for the ball. Sherry Coenen’s lighting adds to the magical impression. Highlights include a well-handled rejection scene for Buttons and Cinderella, to which both of them bring the right degree of sincerity.

Well-loved gag scenes also make their appearnace, including the endless stocking and false foot in the slipper trying-on episode, Cinderella being made totear up her coveted invitation to the ball (by her step-mother, rather than step-sisters here) and locking her in a chest (even less comfortable than the usual cellar) in the attempt to hide her from her questing prince.

Cinderella runs at the Queen’s Theatre, Hornchurch until 14 January. Check the theatre’s website (queens-theatre.co.uk) for performance times.

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Filed under Pantomimes & other seasonal shows, Reviews 2016

Jack and the Beanstalk

(reviewed at the Civic Theatre, Chelmsford on 3 December)

It’s billed as “a giant of a pantomime” and this One From The Heart production measures up to that description. Simon Aylin’s script falls tidily on the ear and Kerris Peeling’s direction keeps the action fast moving. Damian Czarnecki’s choreography gives excellent opportunities to both the ensemble (from Laine Theatre Arts) and the local juvenile dancers.

Costumes are bright and the fary-tale book sets have the right suggestion of not-quite real. Ben Ellis Strathie makes a dashing Jack with David McKechnie’s Fleshcreep as a worthy opponent, eminently hissable. Neil Bromley’s Dame Trott is in the traditional mould, trying (and failing) to keep both Jack and his brother Silly Billy (Samuel Parker) under her thumb. Both quickly establish an excellent rapport with the audience,

Daisy the cow knows how to dance (has she perhaps been watching the Lipizzaners of the Spanish Riding School?) and uses her doe eyes and long, long lashes to good effect. Gabriela Gregorian is Jill, a princess who knows her own mind – not necessarily following her father (Stephen McGlynn)’s instructions. Trying the lead the forces of good is Katie Brennan as Fairy Nuff, not the brighest student at fairy school, but willing to persevere.

Jack and the Beanstalk runs at the Civic Theatre, Chelmsford until 2 January. Check the website (chelmsford.gov.uk/theatres) for performance times.

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Filed under Pantomimes & other seasonal shows, Reviews 2016

Sinbad

(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.

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Filed under Pantomimes & other seasonal shows, Reviews 2016