Tag Archives: pantomime

Beautifully Beastly

BEAUTY AND THE BEAST

Belgrade Theatre, Coventry, Friday 26th November 2021

Forget the Coca-Cola trucks!  You know when Christmas is definitely coming when the Belgrade opens its pantomime.

Back again for the umpteenth year are writer-director-dame Iain Lauchlan and his partner in crime, Craig Hollingsworth.  Separately and as a double act, these two embody the spirit of panto in Coventry, and it’s an absolute treat to see them back live on stage.

Appearing as Dame Dolly Mixture, Lauchlan is tirelessly funny, sporting a range of outfits based on sweets and chocolates, each one a delightful confection.  Lauchlan’s dame always has a twinkle in her eye and something saucy to say.  Paired with Hollingsworth’s Silly Billy, this is a dream team, bringing all the well-worn, well-loved and well funny panto elements to the stage, including a mandatory slosh scene involving mops, and the traditional word play, audience engagement…Lauclan’s script fizzles with jokes old and new.  Clearly, Hollingsworth is in his element, getting annoyed with the audience and complaining about being made to look silly.  A fast-paced song about alternative career paths for the cast is an hilarious highlight.

Another joy to watch is Peter Watts as bombastic narcissist Maurice, in a larger-than-life performance that comes close to stealing the show.  He is teamed with sidekick Grub, played by the excellent Miriam Grace Edwards—it’s great to see her return to the Belgrade stage.

Katy Anna Southgate’s Enchantress is a striking figure in a beautiful purple gown; it’s a pity we don’t get to hear her sing until the finale.

The panto fun is interspersed with the darker plot line of the fairy tale.  It begins with a Prince (Samuel Lake) being beastly to a peasant (Louie Wood).  As punishment for his lack of compassion, the Enchantress turns the Prince into a hideous beast for five hundred years.  The Beast is played with gusto by Sion Lloyd, whose scary speaking voice is offset by his beautiful, powerful singing.  Ruby Eva’s Beauty is as pretty and sweet as you’d expect, while David Gilbrook as her bewildered father Harold dodders around endearingly.  But, let’s face it, you don’t go to the panto for the plot!  The tonal gear change between anarchic silliness and emotional drama is sometimes too sharp.  It’s almost as though we’re switching between two different shows. 

Somehow, Lauchlan manages to marry all the elements to bring the story to its happy ending, complete with a rousing rendition of S Club 7’s Reach For The Stars, which you’ll be singing all the way home.

On the whole, it’s a joyous experience and production values are high, courtesy of the Belgrade’s in-house workshop, from the glow-in-the-dark dancing skeletons to the lavish costumes and fairytale scenery.

A feast of festive family fun.

☆☆☆☆

Caning it: Iain Lauchlan and Craig Hollingsworth (Photo: Nicola Young)

Stream Scream

JACK AND THE BEANSTALK Online

Belgrade Theatre, Coventry 1st-31st December 2020

The annual treat of the Belgrade pantomime is not cancelled, thank goodness, but is available to stream from the theatre’s website into the comfort (or otherwise) of your own home.  Panto without audience participation might seem like the odds are stacked against it, but such is the effectiveness of this specially filmed production, you barely miss the auditorium.

The mighty Iain Lauchlan has been the engine, the heart and the soul of the Belgrade’s panto for over a quarter of a century now, and the film begins with him strolling onto a bare stage and gazing out at the empty stalls.  Voices and laughter from previous productions can be heard.  It’s quite a downbeat start, reflecting the sadness the entire industry must be feeling this year, but the mood instantly picks up when he sits on the edge of the stage alongside his longtime comedy partner, Craig Hollingsworth, who has an idea of how the pantomime can still go ahead this year: stream it online.  At once, you can see the chemistry between these two; their partnership is the biggest draw for me to keep going to Coventry every year.  Their effortless banter and crosstalk is second-to-none.

And so the panto proper begins, with Lauchlan as the Fairy narrator, able to use her wand for digital effects you can’t get in the theatre.   The set and costumes are very much what you’d expect to find on stage but crucially the performance style has been altered to suit the screen.  The acting is still non-naturalistic, but its heightened just enough to maximise the comedy without going over the top.  Addressing the audience is replaced by direct-to-camera and this works brilliantly for Dame Trott’s monologues (Iain Lauchlan is the consummate dame) and also for quick asides and punchlines.  Craig Hollingsworth, usually called upon to be a master of crowd control, here demonstrates another impressive set of skills, those of acting for and to the lens.  I did not think these two could get any higher in my estimation, but they’ve done exactly that.

With Lauchlan and Hollingsworth playing most of the parts (due to the necessity of having limited numbers permitted in rehearsals) this is a real showcase for their talents.  They are joined by perky principal boy, Morna Macpherson as Jack Trott, with Arina Li as the feisty Princess.  Trish Adudu is somewhat underused as the Giant’s wife, appearing in a Zoom call with Hollingsworth’s Fleshcreep (who reminds me of Dave Hill from Slade!)   The troupe of young dancers is led by the dashing Ayden Morgan, adding to the vibrancy of this colourful and inventive production.

Lauchlan’s script is bang up-to-date, riddled with topical references, as befits any panto worth its salt.  He has always been an innovative panto creator and this year, more than ever, his ability to marry traditional tropes with technical advancements is crucial.  Everything is so well thought out.  Even Daisy the cow’s costume has been amended to include social distancing for her front and back legs!  There is plenty of slapstick and silliness, along with saucier jokes for the adults, and it’s all splendidly directed (by Paul Gibson) to suit the medium.

This is by no means a question of performing a panto and standing a camera in front of it.  This is a true marriage of form and content, of timeless tradition and contemporary communications.

It’s available to stream for the whole month of December from belgrade.co.uk so people far beyond the bounds of Coventry can get to see it, and it’s excellent value and an absolute scream.  Oh yes it is.

*****

Iain Lauchlan and Craig Hollingsworth face off with a bake-off (Photo: Chloe Ely)


Slick and Slack

SNOW WHITE AND THE SEVEN DWARFS

Birmingham Hippodrome, Monday 23rd December 2019

 

If you like your pantomimes to come with lashings of glitz, glamour and spectacle, you come to the Hippodrome’s annual extravaganza – and you won’t be disappointed.   This production, originally staged at the London Palladium last Christmas, stints on nothing as it aims to impress.  The key ingredient for a pantomime to work is its cast and here too, we are not sold short.

The show opens with the Magnificent Seven, the dwarfs, who provide the customary exposition in rhyming couplets.  They handle the verse well and have a big impact – it’s a shame then that they disappear from proceedings for quite a while.  And I feel they could be featured more, in comedy routines – they don’t appear to be lacking in talent.

Joe McElderry is the Spirit of the Mirror, a kind of good fairy; he reminds us how great an entertainer he is and, wisely, director Michael Harrison makes good use of him for musical numbers.  McElderry is paired with handsome Prince Harry of Harborne, rising star Jac Yarrow – their voices fit well together, Yarrow’s musical theatre tones blending with McElderry’s pop star vocals.  They are a duo to be reckoned with.  Yarrow is suitably dashing in princely garb but, like many of the characters, has to play the straight man to comic turn ‘Muddles’ a kind of Buttons character, played by the Hippodrome’s resident panto star, Matt Slack.

Slack, returning for his 120th year – oh, wait, am I confusing it with the theatre’s birthday celebrations? –  has an appreciative fan base in Birmingham, and he has plenty of opportunity to showcase his skills: his impressions, his physicality, his daftness, all of which have an underlying wit and intelligence.  Slack is great at what he does, (although I can find him a little overbearing at times), and his shtick invariably goes down well.  There is nothing slack about his professionalism.

Slack’s brilliance comes at a price.  Consummate pantomime dame Andrew Ryan is underused.  Rather than a comic turn in her own right, his Nanny Annie is a sidekick for Muddles’s shenanigans.  Similarly, delightfully deadpan Doreen Tipton is restricted to being part of the troupe and is not given her moment to shine with a song or a monologue or recitation.

Faye Brooks exudes sweetness as the titular princess.  She sings sweetly too – there is a plot twist that works brilliantly, giving her character more oomph.

But for me the undisputed star of the show is the mighty Lesley Joseph as the wicked Queen Dragonella.  A seasoned pro, Joseph pitches the role perfectly, so we find her villainy delectable and her diva-esque ravings high camp.  She is not above making a laughing-stock of herself and she looks fabulous.  The best panto villain I’ve seen this year.

Everything about the show says quality.  The dancers, the costumes, the beautiful set… Britain’s Got Talent’s urban dance act, Flawless crop up as the palace guards, bringing slick moves and also a sense of humour.  Of course, Matt Slack gets in on the act – and it’s one of the show’s funniest and most impressive moments.

All in all, this slick production is as entertaining as you could wish.  All the right ingredients are there – it’s just that some of them are overpowered by the flavour of others.

8-Snow White 11

Yass, Queen! Lesley Joseph rules as Queen Dragonella (Photo: Paul Coltas)

 


Small but perfectly formed

JACK AND THE BEANSTALK

The Attic Theatre, Stratford upon Avon, Saturday 14th December, 2019

 

Stratford’s intimate Attic theatre may not seem a suitable venue for pantomime but clearly Tread The Boards Theatre Company, returning for their tenth Christmas show, know how to make it work.  What we lose in scale and spectacle is more than compensated for by closeness and directness.  Director Jennifer Rigby delivers all the crucial elements for a traditional show; the reach-out-and-touch properties of the space add a personal touch.  We are all in it, inescapably, and the proximity of the actors adds to the fun and to our admiration of their talents.

John-Robert Partridge’s script gives the cast of seven plenty to do.  Annaliese Morgan makes an appealing and fun Fairy Beansprout, brandishing a leek for some reason instead of a wand.  Contrasting perfectly with her sweetness, is the sneering Danny Teitge as the Giant’s menacing henchman, Fleshcreep, in a detailed, hilarious performance that accentuates the comedy of the role.  Jack Scott-Walker is suitably heroic as Jack, and his duet with the Princess (Nicolette Morgan) demonstrates his fine singing voice.  The Princess is spirited and fun-loving, definitely not one of those royals who keeps herself aloof.

fleshcreep

A Fleshcreep to make your skin crawl: Danny Teitge (Photo: Andy Maguire Photography)

Marc Alden-Taylor quickly establishes himself as a favourite, swiftly befriending the audience and enlisting us into his ‘gang’ in a skilful portrayal of Simple Simon.  The comic timing is spot on and his rapport with the audience, especially the children, is hugely enjoyable.  There is energetic support from Linden Iliffe as a perky Lord Chamberlain, but the icing on this Christmas cake comes in the form of Pete Meredith’s superlative Dame Trot.  Naughty but never vulgar, Meredith is a hoot with a seemingly inexhaustible supply of garish gowns and colourful wigs that complement his characterisation perfectly.

There are amusing scenes with Daisy the Cow (appearing as herself) and the Giant is heard but never seen – in fact it is here, that there’s a slight issue: the sound mix makes the Giant a bit hard to understand when he has prolonged dialogue, but the actions and reactions of the cast mean that we still get the gist of what he’s booming on about.

There are plenty of jokes and lots of well-worn routines: a bit of It’s-Behind-You with a prowling ghost, some silliness in a schoolroom scene, a breakneck rendition of The 12 Days of Christmas, a hilarious, if extraneous, balloon ballet that elicits belly laughs… and there is also excitement with an impressive bout of swordfighting between Jack and Fleshcreep, all the more thrilling at such close quarters.  Running business with a bag of sweets keeps us actively engaged, but more could be made of the water pistols given to young audience members to ward characters off particular areas of the stage.

A highlight for me is a brand-new original song, composed by the excellent musical director Elliott Wallis and sung by Danny Teitge (with support from Daisy the Cow).  Teitge’s delivery and Wallis’s skill make the number sound as if it has been lifted from a Broadway show.  It fits perfectly the character and the context and is performed exquisitely.

In fact, the cast sells all the musical numbers well, with lively pop choreography by Catherine Prout, and when they all sing together it’s fantastic.  The energy never flags in this fine, fun production that proves you don’t need grand spectacle and expensive effects to enchant and entertain.

jack and daisy

Daisy the Cow (herself) and Jack (Jack Scott-Walker) in a mooving scene (Photo: Andy Maguire Photography)

 

 

 


A Grand night out

DICK WHITTINGTON

Grand Theatre, Wolverhampton, Tuesday 10th December, 2019

 

It’s the 125th birthday of this beautiful theatre and what better way to celebrate than to attend the annual pantomime?  Written and directed by Ian Adams, this is an old-school show with plenty of spectacle, traditional fare and topical gags, something to keep everyone entertained.

Coronation Street’s Ryan Thomas is the eponymous Dick, and he does a good job as the working-class hero and all-round good guy.  He could do with some more audience interaction – this is left largely to the comic characters, such as Aaron James as Idle Jack (a brilliant impressionist and affable fellow) and Ian Adams’s Sarah the Cook, a saucy music-hall character and a double-entendre machine.  Adams gives a masterclass in pantomime damery.

Jeffery Holland, himself one of the best dames in the business, has the straighter role of Alderman Fitzwarren.  We are in safe hands here.  Holland, at the forefront of time-honoured routines like the mop drill, makes the material work, whether you’ve seen it a hundred times or are coming to it for the first time, as many of the younger members of the audience are.

Su Pollard tries her best as the villainous Queen Rat, stalking around like someone from an office Halloween party.  She is great at her musical numbers but there is a conflict between her persona and her role, as if she wants us to like her and not like to hate her.  I would have cast her as a novice Fairy Bow Bells, seeking to earn her wings (aka yellow coat).

WHITTINGTON 71 TT 06.JPG

Su Pollard as Queen Rat

Not that there is any problem with the Fairy Bow Bells we get.  Julie Paton exudes a kind of authoritative benevolence; there is something of Julie Andrews about her – again, we are in very safe hands.  Paton also choreographs and there is a dazzling routine where everyone is seated, a kind of convoluted hand jive that is as charming as it is complex.

Katie Marie-Carter sings sweetly as love interest Alice Fitzwarren but the show is just about stolen by Jordan Ginger as rather posh talking cat Tommy.

The script is peppered with quickfire hit-or-miss gags so you hardly stop laughing.  We don’t get the underwater scene we might expect in this panto and, curiously, with Sarah the Cook on board we don’t get a slapstick cooking scene.  We do get a scary surprise to close the first act and – because it’s gala night tonight, there is an extra-special guest appearance from veteran comic Jimmy Tarbuck himself!  Tarbuck comes on dressed as a sultan, does a few gags and reminiscences a bit, urging us to cherish this grand and beautiful venue.

It occurs to me that this may be the only pantomime based on an historical figure – unless you write in and tell me there was indeed a Mother Goose – but what matters here is the story still works as a piece of family entertainment, and its presented here by highly skilled professionals and with oodles of cheekiness and charm.

WHITTINGTON 99 TT 06.JPG

Aaron James, Ian Adams and Jeffery Holland

 


The Cat’s Pyjamas

PUSS IN BOOTS

Belgrade Theatre, Coventry, Friday 29th November, 2019

 

This is the first pantomime of the season for me and it’s a cracker.  Belgrade stalwarts Iain Lauchlan and Craig Hollingsworth return for the umpteenth year on the trot for the rarely staged story of a crafty cat who helps his master to social climb his way to the palace, defeating a terrible ogre along the way.  The pair work superbly as a double act, with Lauchlan as the dame, Matilda Pudding, and Hollingsworth as her son, Simon.   They are also superb on their own, with Hollingsworth in particular working the audience.  His persona is cheeky and easily annoyed; the comic timing is impeccable.  Lauchlan gives a masterclass in panto-damery, with a succession of ridiculous outfits, charming humour and an irrepressible sense of fun.  Lauchlan also writes and directs, and is clearly some kind of genius.

Iain Lauchlan (Matilda Pudding) and Craig Hollingsworth (Simon Pudding) - credit Robert Day

The Puddings: Matilda (Iain Lauchlan) and Simon (Craig Hollingsworth) Photo: Robert Day

The rest of the cast, for the most part, rise to the standard of the star pair, given the stock limitations of their roles.  Aimee Bevan warms into her duties as our narrator Fairy Flutterby; David Gilbrook is suitably doddery as good King Colin; and Miriam Grace Edwards makes a gutsy Princess Sophia.  As the villain, evil jester Victor Grabitt, Peter Watts is enormous fun, sinister, snide and camp in the melodramatic sense, he is a joy to watch.

The chorus is fleshed out with a troupe of local children, who tackle Jenny Phillips’s choreography with panache.  Among the grown-up dancers, Dylan Jones distinguishes himself with some spectacular urban moves, as well as an engaging sense of humour.  Daniel Teague appears as the Ogre, in a delightfully scary moment – this show has plenty to engage the children and get them shouting and pointing at the stage.

In the title role, Joanna Thorne is dashingly heroic with a lively touch of comedy.  The role is a blend of principal boy and a skin part, but it also lets girls in the audience that females can be proactive.  Thorne has a strong singing voice – it’s a shame we don’t get to hear more of it.

Lauchlan’s script successfully combines traditional routines with bang up-to-date new elements: we are invited to submit ogre-faced selfies to an Instagram account during the interval; Simon Pudding first appears via face-time… Lauchlan thereby upholds the audience expectations of the form, while keeping the form fresh and current, and of course there is plenty of saucy humour to keep the adults laughing.

Non-stop fun from start to finish, this is a refreshing change from the ‘big’ pantos that always do the rounds (the Aladdins, the Cinderellas, the Dicks) and a fantastic way to get into the festive spirit.  As ever, it’s great to see such a diverse audience at the Belgrade, demonstrating that pantomime truly is for everyone and that theatre can bring us together.

Joanna Thorne (Puss in Boots) and Peter Watts (Victor Grabbit) 2 - credit Robert Day

Joanna Thorne as Puss in Boots and Peter Watts as Grabitt (Photo: Robert Day)

 

 

 


The Princess and the Proon

SNOW WHITE

Stratford Play House, Stratford upon Avon, Friday 21st December, 2018

 

For their first pantomime since taking over the venue, Proon Productions present the fairy-tale favourite, combining a small cast of professionals with a cast of small amateurs: children from the Drama Club, taking on the roles of Snow White’s seven companions.

Steve Kray’s script reunites adult members of the audience with some very old, groan-worthy jokes.   Of course, for children, there are no old jokes; the delivery here is well-paced and the performance style is definitely old-school to match.  Small-scale this may be, but the energy of the performers keeps the panto spirit alive.

In the title role, Phoebe Cresswell is a sweet princess, high-pitched like Betty Boop or Disney’s version; her singing voice is less shrill, it’s very pleasant indeed.  As Snow White’s love interest, Prince Boris, the thigh-slapping Ellen Hastings certainly looks the part; she could do with more conviction in her princely swagger.  Joanna Gay’s cackling evil Queen is a major draw, stalking around melodramatically.  She is a fine singer too, although in some of the solo numbers, cast members can look a bit stranded on stage, with no backing dancers or special lighting to heighten the moment.  In perfect contrast with Gay’s histrionics, a pre-recorded Rebecca Hallworth appears as the even-tempered Magic Mirror, dispassionately doling out the truth.  There is even an appearance by company mascot, Mr Proon, himself.  Imagine Mr Blobby with class.

Steve Kray, not only writing and directing, appears as Silly Billy, whose downbeat Brummie intonations augment the comedic energy of the character.  Silly Billy is at his finest (daftest) working in tandem with Ellis Creez’s dame, ‘Nursie’ – a characterisation worthy of the admission fee alone!  Creez has immaculate comic timing and it’s as though he has travelled in time from a music hall.  He delivers quite lengthy patter with archness and charm and just the right amount of sauce.  There are times when his magnificent sculpted wigs cast his face in shadow; it’s a pity to lose those expressions!

The commitment from the youngsters is a delight to behold, each one of them doing their utmost to add to the fun.  They’re a strong team but I am particularly impressed by Alfie Lee as Watt and Sophia Lucas as Him.  Well-trained and enthusiastic, these dwarves could do a few comedy beards to help differentiate them.

There is much to enjoy here, it just needs a bit of tightening.  A more consistent use of musical cues, for example, like a few crashing chords to herald the entrance of the villain every time she comes on, would help sustain the atmosphere, rather than having the Queen arrive in cold silence.  And the baking scene makes absolutely no mess whatsoever – a missed opportunity for a bit of slapstick!

There is something for everyone, with the likeability of the performers and the corniness of the jokes carrying us through the familiar fairy-tale.  The show needs and deserves a large and responsive audience, that crucial pantomime ingredient that binds everything together.

Running until December 31st, with matinee and evening shows, Snow White is a refreshing alternative to CGI-laden blockbuster movies, tired Christmas telly, and violent videogames.  Book a family treat now on 01789 333990 or www.stratfordplay.co.uk

snow white proon

 

 


What a Croc!

PETER PAN

Birmingham Hippodrome, Thursday 20th December, 2018

 

Birmingham’s Hippodrome theatre can be counted on to stage the biggest, brightest pantomime year after year and this year is no exception.  Peter Pan is a bit of a weird one, as pantos go, because we expect to see certain key plot points from the J M Barrie play along with traditional panto elements as befit the format.  There is no wedding celebration at the end, for example, because there is no couple of lovers; in fact, Peter and Wendy’s story ends with separation.  Bit of a downer, there, Mr Barrie.

Other than that, it is quite a good fit in this adaptation for the pantomime stage by Alan McHugh and director Michael Harrison.  Big, bold and extravagant, the Hippodrome panto is the jewel in the Qdos crown, but it doesn’t matter how much money you chuck at the stage, it doesn’t matter how big the Wow factor is, if the show doesn’t have any heart.

Rest assured, heart is not in short supply either, thanks to a superlative cast.

Back for his sixth year on the trot, funnyman Matt Slack almost dominates proceedings as Mr Smee.  With Slack, you know exactly what you’re getting, and you’re delighted to get it.  There is nothing slack about his comedic skills: a bit rude, a lot daft, and with exquisite timing.  His impressions are always impressive too.

Union J’s Jaymi Hensley is practically perfect as Peter, with his boyish good looks and angelic pop vocals.  I could listen to him all night.

jaymi

Pan-tastic: Jaymi Hensley

Cassie Compton makes an earnest Wendy, while Kellie Gnauck is an appealingly bratty Tinker Bell.  Meera Syal brings local colour to the show in her pantomime debut as the Magical Mermaid and is clearly enjoying herself immensely.  There are old-school variety acts courtesy of the remarkable Timbuktu Tumblers and a gravity-defying balancing act called the Drunken Pirates (Sascha Williams and his assistant Stephanie Nock).

The flying effects are as you’d expect but there are also some surprises.  Most impressive of all is the Crocodile, whose terrifying appearance brings the first act to a close.  Truly, the best I have seen.

The coup though is the casting of not-so little Jimmy Osmond in the role of Captain Hook.  Osmond is the embodiment of entertainment and one of those rare creatures, an American who gets pantomime.  He establishes an excellent rapport with Slack, the straight guy to the latter’s buffoonery, and he treats us with several songs from his brothers’ repertoire, for a rousing finale.

This spectacular affair is a lot of fun.  The comic song, If I Were Not in Neverland, brings the house down, and Slack’s handling of the four youngsters who come up on stage for the sing-along is always a highlight.

One thing I will say: the show could do with a wider range of costumes.  Captain Hook especially deserves an extensive wardrobe, and in the absence of a dame, the Magical Mermaid could do with some more outlandish outfits.

But never mind that.  This is a top-drawer production, an awfully big adventure that is hilarious and magical, demonstrating that what matters most of all is casting.  Get that right and everything else is a bonus.

jimmy osmond

Hooked on a feeling: Jimmy Osmond

 

 


Making Merry

ROBIN HOOD

Regent Theatre, Stoke on Trent, Friday 14th December, 2018

 

Panto’s cheekiest duo, Jonathan Wilkes and Christian Patterson, are back – of course, they’re back – with another hilarious madcap extravaganza.  The Robin Hood legend is merely a framework on which to hang the customary pantomime shenanigans, although there is some semblance of a plot with the archery contest for the golden arrow, and King Richard returning from the Crusades.

In the title role, Jonathan Wilkes with his schoolboy impertinence and his pleasant pop-star vocals is an irresistible lead.  The home crowd that turn out in their droves to support him know what to expect, and we lap it up.  Long-time confederate (ten years and counting) Christian Patterson starts off as a cheery, ruddy-cheeked Friar Tuck, getting up to monk-y business.  The funniest moments of the show are whenever these two are on together, and the script contrives to keep them on together for as much as possible.  Tuck, to distract the Sheriff, becomes a pantomime dame and opts to stay in drag for the rest of the show.  Tuck by name…

As the Sheriff of Stokingham, the mighty Kai Owen is enjoyably sneering, spouting insults at the audience, looking like a cross between Lawrence Olivier’s Richard III and Claudia Winkelman.  Finley Guy is an appealing, perky Maid Marian, who can give better than she gets in a sword fight with the baddie.  This is just one of the production’s progressive elements, showing that female characters can be pro-active too.

Another welcome step is the inclusion of an openly gay character in the handsome form of Delme Thomas’s Will Scarlett.  He could not be more camp, but the character is never ridiculed or belittled; he is accepted, included and valued, and that is very pleasing to see.  Thomas commits to his high-camp characterisation and can ad lib with the best of them and sing like a dream.

Peter Bonner’s Little John lives up to his name.  He’s a charming stage presence and a great sport.  There are plenty of jokes at the expense of his diminutive stature, good-natured ribbing this may be but perhaps we will see a move away from this kind of humour too…

Baby steps.

The good fairy role is played by Rebecca Lisewski as the Spirit of Sherwood, combining fairy-tale glamour with a down-to-earth manner.  Her singing voice is the best of the bunch and she gets to really let rip in the finale with a rousing rendition of This Is Me.

As ever, the choreography, by Nikki Wilkes and James Bennett, is superlative, performed by an attractive ensemble that contains some acrobatic men.  The crowd is augmented by kids from the Wilkes Academy of Performing Arts.   The songs are well-known and sing-along-able and some of the jokes are tell-along-able.  Inclusion really is the watchword here!

There’s an impressive 3D sequence (the graphics in these things have definitely improved) along with traditional moments (a song-sheet, kids on stage, a stalking ghost…)  The almost-obligatory Twelve Days of Christmas rapidly descends into chaos, and you might think the whole enterprise is just silly, knockabout fun, and indeed Wilkes and Patterson give the impression that it’s all slapdash.  Well, slick it certainly isn’t – on the surface, at any rate.  Patterson’s direction masks the professionalism beneath the giggles.  There is a gobsmacking Play-That-Goes-Wrong moment, which I won’t give away, but it makes you realise these guys know exactly what they’re doing.

The laughs keep coming in this warm-hearted, who-farted, romp.  It’s like catching up with old friends and having a cracker of a night out.  A feast of fun, I advise you to Tuck in.

merry men

Merry men: Delme Thomas, Christian Patterson, Jonathan Wilkes and Peter Bonner

 

 


Finger-Prickin’ Good

SLEEPING BEAUTY

Grand Theatre, Wolverhampton, Tuesday 11th December, 2018

 

Second panto of the season for me and my second Sleeping Beauty.  This extravaganza in Wolverhampton’s beautiful Grand Theatre hits all the high notes, with their most consistently excellent pantomime production in years.

Debbie McGee kicks things off with a Grand entrance as the Lovely Fairy Crystal.  It’s not long before she’s demonstrating her hoofing skills.  Strictly between us, she’s still a fantastic mover, even if she is prone to a spot of corpsing in her dialogue scenes – actually, this adds to the fun.  As her evil counterpart, the wicked fairy Carabosse, Julie Paton is hugely enjoyable; it’s not until the second act that we get her finest moment, a lyrically-adapted rendition of  I Will Survive.  Paton also choreographs the show, the customary blend of fairy-tale costumes and contemporary dance.

Ian Adams returns to Wolverhampton on double duty, as director and as a deliciously camp dame, Queen Wilhelmina (Call me Willy!)  Adams is clearly in his element here, bringing drag queen elegance.  The innuendo levels sky-rocket whenever he is on.  Also back is Doreen Tipton, as hilariously dreary Nurse Doreen, bringing a very local flavour to proceedings and also some of the rudest remarks.

Bethan-Wyn Davies is an appealing Princess Beauty, looking like she’s dropped out of a Disney movie, and singing like a pop princess.  Her love interest is Prince Harry, played by the delightful Oliver Ormson, handsome, funny and with the voice of an angel, he is the perfect panto prince.

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Oliver Ormson and Bethan-Wyn Davies as Harry and Meghan – sorry, Beauty (Photo: Tim Thursfield, Express & Star)

The big draw for me though is the casting of Sooty.  As himself.  There is so much love for the little golden bear with black ears, and I’m pleased to see it’s not just me.  The older members of the audience revel in the nostalgia while the younger ones are delighted by his mischievous antics perhaps for the first time.  Of course, you can’t have Sooty without Sweep, who treats us to a rendition of Nessun Dorma like no other.  It’s a surreal moment.  Part of you knows it’s a hand in a glove squeezing a squeaker, but another part of you overrules it and you find yourself urging him on.  Go on, Sweep, give it some welly!

Accompanying the puppets is Richard Cadell.  More than Sooty’s handler, he is a splendid comic performer in his own right and also a fine stage magician.  The show has some amazing set pieces, magic tricks on the small and the large scale.  Cadell is irrepressibly funny, a true showman.

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Richard Cadell as Muddles and Sooty as himself (Photo; Tim Thursfield, Express & Star)

With musical director Kelvin Towse in charge of a tight ensemble, a troupe of talented dancers (who are perhaps a little underused) and a smattering of ‘babes’ from the Classic Academy of Dance, this is a high-quality show that really does have something for everyone.  Production values are impressive (apart from a naff helicopter) and while the kids revel in the slapstick, the grown-ups are tickled by the risqué jokes.  There are traditional routines, spectacular effects, and above all a whole lot of fun.

Magic.