Snow White’s All Right

SNOW WHITE

Stafford Gatehouse Theatre, Thursday 30^th December, 2021

As the pantomime season draws to a close, I am pleased to be able to fit one more in before the end of its run.  And what a cracker it turns out to be!

Headlining the cast as the Wicked Queen, Maureen Nolan is a striking, commanding figure, darkly glamourous, oozing evil and delivering some wicked one-liners.  Her big number, Alice Cooper’s Poison, as she cooks up the apple and her old woman disguise, is a definite highlight.  Nolan is still in great voice and the dancers, choreographed by Phillip Joel, add vigour and atmosphere to proceedings.

In the title role, Rebecca Keatley from Children’s television, makes for a vivacious, instantly likeable and upbeat leading lady, exuding friendliness.  She also reveals herself to be an excellent singer—this panto is riddled with well-known songs, from the charts and from West End shows.  Keatley’s vocals go extremely well with those of the mighty Keith Jack, in the role of the Prince.  Their duet is stunning.

Keith Jack is an ideal Prince, with his rugged good looks, soft Scottish burr and powerful singing voice.  As an extra treat, he gets his kit off (for plot reasons) and, in chains, belts out Close Every Door, because it would be a waste of one of the best Josephs in the business not to! 

Much of the comedy comes from Sean McKenzie’s naughty Dame Nellie Furlough, and Mike Newman as everybody’s friend, Muddles.  Together and separately, these two are easy to laugh at, and they work the crowd expertly.

The good fairy (Wendy Abrahams) gets plenty to do.  Being a stickler where panto is concerned, I am pleased to report she speaks in rhyming couplets.  Not only is she our narrator and the story’s supernatural influence, Fairy Wendy also forms a double act with Theo The Mouse, an incorrigible puppet who gets the younger members of the audience squealing with delight.

Appearing as Igor, the Queen’s henchman, is Wink Taylor, clearly enjoying himself in this larger-than-life character.  It turns out that Taylor also wrote the script.  Clearly he is someone who loves the traditional elements of pantomime as much as I do.  He gets the tone and balance exactly right.  The story is strong and every element exists to serve the plot.  Even the mischievous mouse puppet!  I suspect Taylor has a hand in that as well…

The show delivers enjoyment from curtain up to finale.  Act One closes with a rousing rendition of You Will Be Found from Dear Evan Hanson!  And it works superbly.  Moments of drama (e.g. Igor meeting Snow White in the forest to kill her!) are offset with silliness, and it all fits together wonderfully well.  Director Richard Cheshire ensures the pace never flags while giving scenes room to breathe.

Absent from the title are the seven dwarfs.  In the show they are referred to as ‘kind little men’ and they’re played by children in oversized cartoon heads, performing dumb-show to pre-recorded voices with a Dad’s Army theme, which is a clever idea but probably over the normal-sized heads of the kids in the audience.  Also, I think sometimes the kids in the big heads can’t see where they’re going, as the blocking of these scenes can suffer.  Given their limitations, it’s no wonder they are not given any fun stuff to do.

A traditional, well-made panto with most of the elements you could hope for (what, no slosh scene?). The Gatehouse has a hit on its hands, and its great to see this newly refurbished regional venue so well supported.  I’ll definitely be back next year to see if they can top this one.

☆☆☆☆

Sean McKenzie, Rebecca Keatley and Mike Newman

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