Tag Archives: Michael McKell

An Aladdin’s Cave


Derby Arena, Tuesday 8th December, 2015


All credit to Derby Council for persisting with the wish to stage a pantomime even though the usual venue, the Assembly Rooms, is out of action. Every effort has been made to transform the arena, a velodrome of all places, into a kind of pop-up theatre. It exceeds expectations. Yes, there is still the feel of being at a rock concert about it but both the staging and the content are traditional.  It’s a bit of a cavern but it’s full of treasures. We get everything we expect from a panto.

Hunky TOWIE star Dan Osborne pulls out the big guns as the Genie of the Lamp – he doesn’t have much to do in the first act but goes along gamely in the second, keeping the who-what-I-don’t-know patter going while other more seasoned performers are corpsing beside him. Michael McKell is a commandingly villainous Abanazar with a short fuse and a strong singing voice, while Leon Craig’s Widow Twankey is a delightfully domineering dame. The teasing of a member of the audience treads the thin line between banter and bullying – Mike McClean’s irritable Wishee Washee is also guilty of this. The villain may insult us so that we will boo him and oppose his plans; other characters may be cheeky and take the mick, but there’s an acerbic note to some of the remarks here that I didn’t care for. That said, McClean is clearly a skilled panto performer, aimed squarely at the adults present. The script by Keith and Ben Simmons has plenty of innuendo to keep the grown-ups laughing and tons of fun to keep the kids enthralled.

In the title role, pop star Ritchie Neville makes an energetic and amiable principal boy, throwing himself into the action. His duet with beautiful Princess Jasmine (an appealing Jade Chaston) James Bay’s Hold Back the River is the musical highlight of the night. Natasha Hamilton impresses as the Slave of the Ring – it’s a shame we have to wait so long before she gets to sing.   As the Chinese Policemen, Ping and Pong, Joseph Elliott and Richard David-Caine bring silliness and slapstick – Yes, I did say Chinese. Even though the story is lifted from the Arabian Nights, the panto tradition is to give the setting a Chinese aesthetic. My political correctness twitches every time, but that’s my problem.   The Emperor Chop Suey (Howard Ellis) tends to punctuate his proclamations with martial arts moves and kung fu cries, but that’s about as dodgy as it gets.   Ellis redeems himself with a rendition of Nessun Dorma in the wedding scene.

This traditional show in an unconventional venue is a wish come true for pantomime fans. There is plenty of colour, energy and a bit too much smoke, and it’s pleasing to see both form and content being adhered to: the rhyming couplets, the well-worn routines, the spectacle (the flying carpet) carried off by a strong ensemble, going all-out to make the show work in untraditional circumstances.


Burial Plot


Belgrade Theatre, Coventry, Monday 26th January 2015

Shaun McKenna’s adaptation of the Peter James novel keeps the twisty-turny plot to the fore, which is as it should be in a story of this type. It’s not so much a whodunit, a puzzle for the audience, as a theme park ride of shocks and spills. It is the plot, not the characters, that keeps us hooked in to the drama. This is fun for us but presents the actors with a particular challenge.

At times, the characters are merely mouthpieces, spouting ‘facts’ which may or may not be relevant to the subsequent action. They are ciphers rather than rounded characterisations – this is in service of the plot, which may require them to become someone other than we first encounter a little later on. And so we get some clunky attempts at dialogue – the ‘banter’(even between the police characters) does not ring true – and consequently, the acting can seem at times stilted and unconvincing.

Jamie Lomas is victim-in-chief Michael, looking forward to his stag night. There is some excruciating mateyness with his best man and partner in crime. A prank goes awry and Michael finds himself buried alive in a coffin. Yet it is within these confines that Lomas is set free. Using mainly his voice to express his mounting distress, he gives the performance of the night.

Rik Makarem is best mate Mark, and does a good job of squirming under pressure. Tina Hobley is strikingly beautiful as bride-to-be Ashley; there are surprises in store from both of them. Uncle Brad (Michael McKell) has a Canadian accent that is ropier than a piece of string – But I am prepared to give him the benefit of the doubt, given the way the plot goes…

Josh Brown’s simple-minded Davey adopts a TV-style accent which he punctuates with Northern English – another strong depiction of distress – yet he also provides most of the comic touches, through characterisation rather than ham-fisted dialogue.

Sarah Baxendale is underused as the psychic friend to the star detective Roy Grace – here portrayed with calm assertiveness by Gray O’Brien. Marc Small enlivens every scene he’s in as Detective Sergeant Branson.

The split-level set by Michael Taylor works well to establish a range of locations, enabling the action to keep flowing, but I don’t think the car that wheels on and off is at all necessary, when so much of the scenery is suggested through lighting and sound. Also, a team of stage hands shifting scenery on half the stage during the penultimate scene is distracting, to put it mildly.

Director Ian Talbot builds suspense and surprise so that we care what happens next, even if we don’t give a toss about any of the characters involved.

dead simple