Larger Than Life

SEE HOW THEY RUN

Derby Theatre, Monday 7th April, 2014 

 

“There are no small parts, only small actors.”  That cliché refers to mentality rather than stature.  Massive star Warwick Davies knows there are lots of small, as in short, actors who are not getting the chance to display their talents outside of Snow White pantomimes and Gringott’s bank.  Davies set up the Reduced Height theatre company to provide just that chance and their first production, Philip King’s 1944 farce gets them off to a running start.

The play is old-fashioned but wearing well. Directed by the legendary Eric Potts, the emphasis is on getting as many laughs as possible from the material.

Davies is Reverend Lionel Tapp and shows a nice line in comic reactions, spit takes and double takes, and is ably supported by his troupe of character actors. Rachel Denning swans around as the vicar’s glamorous wife;  Francesca Papagno is an absolute hoot as local frump and busybody Miss Skillon who gets pissed as a fart and stowed in a cupboard.  Phil Holden is great fun as actor-turned-soldier Clive, and Jon Key is suitably indignant as scandalised as fuddy-duddy bishop Uncle Dudley.

It’s all played in a heightened (so to speak) style with larger-than-life characterisations.  There’s lots and lots of running around, some of it gratuitous, in this tale of disguise and mistaken identity.  Raymond Griffiths adds a touch of menace as an escaped POW with a cod German accent, Jamie John brings camp and confusion as a visiting vicar, but the stand-out of the night is Francesca Mills as Ida, the cheeky maid, all gorblimey and eye-rolling, complete with a Barbara Windsor cackle.

It’s fast paced – it has to be or it would die on its arse – and gloriously silly fun, good-natured and refreshingly uncynical in its contrivances. Eric Potts works his players hard, piling on the comic business, making use of their physicality without mockery.  There is something extra funny in seeing their little legs run, and it’s funny in another sense how their lack of height adds a dimension to the comedy.

I hope they’ll tackle a straight drama next.  This production takes giant strides away from the notion of short actors as novelty acts.

Not Short on Fun

SNOW WHITE AND THE SEVEN DWARFS

Malvern Theatres, Thursday 19^th December, 2013

 

Once again Malvern Theatres come up with a Christmas cracker of a pantomime – it works so well because it upholds the familiar traditions of the genre.  At the helm is Chris Pizzey who not only directs (and provided additional material to Andrew Ryan’s marvellously corny script) but also appears as funnyman-in-chief, Muddles, jester to the Wicked Queen.  Pizzey has an instantly likable persona, energetic and clearly enjoying himself.

My only quibble with this Snow White is it takes a while to get going.  I’m not sure that reading out birthday messages and shoutouts to members of the audience is best placed in Muddles’s first monologue.

Olivia Birchenough is a perky Snow White with a more than decent singing voice.  Songs from the Disney animated feature are put to good use along with more up-to-date pop numbers that get the youngsters in the audience singing along.  Pantos that use ‘original’ songs miss a trick in terms of audience engagement.  Seasoned old pro Charles Burden (if I may call him that) is a splendid dame, Snow White’s nursemaid, Dolly, holding his own when it comes to banter with the audience and working like a dream with Pizzey in time-honoured panto routines.

Sue Holderness is an impressive, imperious and enjoyable villain – you almost want her evil plot to succeed!   It is her Wicked Queen who steers the silliness into darker waters.  When she offers Snow White the poisoned apple there is genuine tension in this iconic moment, even though we know what’s going to happen.  The kiddies near me were thoroughly caught up in the action.

Ben Harlow is a charming Prince Frederick, dashing in a camp and goofy kind of way, and director Pizzey gets a lot out of his strong singing voice and his comedic skills.  Pizzey also capitalises on the talents of one of the dwarfs in particular, bringing out ‘Smiler’ (Jamie John) to join the nurse, Muddles and the Prince for a raucous rendition of The 12 Days of Christmas – although I have seen rowdier.

Routines like the ghost scene are executed superbly well, proving that the traditions and tropes of the form are still effective and still have currency in the hands of skilful performers.  And above all, it’s still very, very funny.