The Princess and the Proon

SNOW WHITE

Stratford Play House, Stratford upon Avon, Friday 21^st 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 31^st, 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

 

 

Nice Hooters

HOOT OWL – Master of Disguise

Artshouse, Stratford upon Avon, Wednesday 21^st February, 2018

 

It is not uncommon for successful children’s picture books to make the transition to the stage.  The Tiger Who Came to Tea and We’re Going on a Bear Hunt are just two examples.  Now, Proon Productions bring us Sean Taylor’s owl-arious story, to wit Hoot Owl; adapter-performers Ellis Creez and Rebecca Hallworth flesh out the plot (they have to, or the show would be over in ten minutes!) to create an hour of entertainment, framing Taylor’s original account of the protagonist’s quest for food with an over-arcing plot: Hoot Owl must prove his predatory prowess if he is to join the ranks of the Parliament of Owls.

There are several charming songs, penned by Creez and Hallworth and arranged by Mark Rowson, so there are plenty of opportunities for us to sing, clap, and wave our arms along with the cast.  In fact, my only quibble with this thoroughly enjoyable production is that sometimes the backing tracks are a little too high in the mix, drowning out the witty and sophisticated (and funny) lyrics.  The cast are both miked up but they could do with belting a bit more to get the songs across to the greatest effect.

As the eponymous owl, Creez reveals his comedic biases with shameless tributes to the likes of Frankie Howerd, in his audience address – the put-downs of some of the grown-ups are funny without being mean-spirited; there is a Benny Hill-type chase around the auditorium, although with only two in the cast, it is more the spirit of the idea that amuses (There is much for the grown-ups and for the parents of the grown-ups to enjoy here, as Creez’s old-school comic stylings work like a dream).  Creez is also a nifty magician; as mentioned earlier, he just needs a bit more power in his singing voice to attain perfection.

Playing all the other roles, including operating an impressive pair of hooters – I’m referring to the owl puppets, made by Craig Denston – Rebecca Hallworth proves her versatility.  Her Rabbit gets every on their feet and her pigeon-headed Elvis Presley invocation is a showstopper.  Yes, you read that correctly.  Elvis.  With a pigeon’s head.

The script is packed with one-liners and cleverly, the writers sneak in facts about the animal characters Hoot Owl encounters.  There is a bit of a message about self-belief, without getting all moralistic or gooey about it, but above all, the show is a bonkers bit of fun.  Wisely, the original book forms the spine of the story and shapes the action, culminating in Hoot Owl’s final disguise as an Italian waiter, stalking a pizza, the only prey he can manage to catch.  Here, an audience member is called upon to appear as a customer and read lines from a menu, in true Generation Game fashion.

The set by Kevin Hallworth and the animations by Kian Adams are informed by Jean Jullien’s illustrations in the book, although the show has plenty of pantomime elements to it (a couple of child volunteers are enlisted to wave pompoms as Hoot Owl’s hootleaders) and one scene, in which Hoot Owl, disguised as a ewe, attracts the attentions of a randy ram, hearkens back to the earliest days of Comedy.    Hoot Owl – Master of Disguise is not only a celebration of the book but a fresh take on the traditional theatrics that have had us laughing for millennia.

There is something for everyone here.  You’d be a to-wit to miss it.

Hoot Owl (Ellis Creez) petitions Parliament