UK Theatre Network

Calendar Girls by Tim Firth, Richmond Theatre

© Writer: Tremayne 
 

Calendar Girls opens to the voice of Jennifer Ellison (Cora) singing Jerusalem.

A Tai Chi class at a Women’s Institute follows, and then a talk about the harvest.

 

Lynda Bellingham (Chris) makes the suggestion to Head of The W.I. group, Ruth Madoc (Marie) that in next year’s calendar, when it came to the final month in the year that there could be a flap you lift, where upon you would get to see George Clooney’s credentials. The first of many corker lines still to come!

When Rula Lenska (Celia) pipes up, her spoken voice is not unlike that of Actress Joanna Lumley.

 

‘How does such a lovely man end up like an old git like you,’ is said light heartedly by Lynda Bellingham’s character to Joe, played by Joe McGann, who is keeping his morale at an all time high despite undergoing chemotherapy treatment for cancer.

‘Do you know, if more people did W.I. there’d be half the need for hallucinogenic drugs!’, said by Chris in response to one of the ladies’ who has managed to use a combination of cotton reels and Ferrero Rocher wrappers to make a desert island.

Annie (Jan Harvey) in the next scene is seen tucking a blanket into her husband, John’s lap, as it is revealed he is a wheelchair.  Something is taken away from what would have been a sentimental moment in the play by an audience member’s mobile sounding off!

 

What a sugary sweet scene it is when Chris is awarded The Overall Prize at The W.I. Fete, as well as for Best Sponge Cake in The Best Sponge Cake category.  The lady to open the event insists on her divulging to all what her secret is.  Chris, reluctant to make a speech but when she eventually does, gives out the following advice: ‘to butter the bowl, to always warm the spoon and if it is a special event to buy it from M&S (Marks & Spencer)!’

 

The centre stage, on a mount, rises as a form of eulogy is read out in memory of John who has now passed on; and we learn what a great affinity he had with sunflowers.

Annie, out on the hillside with the other ladies hands out a nude calendar to each of them.  Funds need to be raised without delay and doing a calendar of this genre seems a viable option.

Chris, all for the calendar, then proceeds to clarify the difference between ‘naked’ and ‘nude’, and Cora, who is a vicar’s daughter, sees that both would involve downing a vodka!

Chris continues her argument on, whipping her upper half of clothing clean off, swivelling round to face them, careful to keep her supplies covered. Then, as she swivels back around, she lifts her arms up in the air, and one motorist, or even several, have obviously caught a glimpse of her as we hear the screeches of brakes in the background.

 

Back in the Women’s Institute building June, played by June Watson, is in agreement with the nude calendar, just as long as ‘no front bottoms’ are involved!

Cora (Jennifer Ellison) seems adamant that the sight of her naked body is reserved for one man, and one man alone!  Also unsure as to whether it would be inappropriate when she is a vicar’s daughter but it is clear to us that underneath her sloppy overalls is a svelte body.

 

A very funny scene is to follow as each of the ladies sneaks onto the stage, clearly embarrassed over being photographed, and to ease them into the idea, Celia (Rula Lenska) lines up a row of shots along the piano top.  They then decide who will go first by drawing straws, and on Celia realising it is to be her, she grabs the bottle of vodka and starts to guzzle it down in one.

I particularly love the part in the scene where Celia picks two buns up with glacier cherries on top from the display and places them over her bosom, which is considerably smaller in comparison.

June responds to the faces Celia makes by saying: ‘she looks like she’s got pelvic floor trouble!’

The next lady to go up is Cora, or the calendar ‘Miss July. She is insistent on warming herself up on the piano first, re-coining the piece of music she plays as, ‘air without a g-string’.

It’s June’s turn next. Her set-up involves a pair of crossed knitting needles with a fluffy wool centre. Hilarious! 

It turns out that  June is the ex teacher of Lawrence (Bruno Langley), the photographer.  You can guess who is the most embarrassed of the two!

 Ruth, the least up for getting her kit off in the group, then strolls in plastered but ironically, it is probably the only state she is prepared to be photographed in.

An impressive pick-up by Lynda Bellingham and Rula Lenska, when one of them gets a stiletto heel stuck in the stage before going on to pose for the November page of the calendar. The way it is covered up, one would almost believe that it had been part of the original story.

 

In Act II we establish how news of the calendar’s publication has spread as reporters block the end of the road where the Women’s Institute  is situated; and when Miss November, or Chris comes to pose for the Press she holds up a funereal plaque of flowers upside down, which would have spelt out the word, ‘Mom’ but instead manage to spell out ‘Wow’.  She had arranged it, and thought it only right to put it to good use since it had not been used for its original purpose.

Friendships are tested when Chris appears to lose sight of what the calendar stood for in the first place.

Right at the end the ladies gather on the hillside to uncover the sunflowers they have sown in full bloom in memory of  Annie’s husband, John.

The sunflowers act as a symbol of John whose death also brought about an unexpected closeness within the different ladies’ friendships.

 

‘The Calendar Girls work is a tribute to Angela Baker's husband John, who tragically died from non-Hodgkins lymphoma. The Girls began in Yorkshire and have raised over £3 million for Leukaemia & Lymphoma Research since their first calendar.’

 

Aladdin

Whitley Bay Playhouse

Reviewing two different productions of the same pantomime in the same season inevitably leads to the drawing of comparisons. With Aladdin at the Customs House in South Shields being such a showstopper, the pressure couldn’t have been greater for the co-production from Whitley Bay Playhouse and Blue Genie Entertainment to deliver the goods.

Having had some considerable experience in marketing, myself, I am somewhat sceptical of subjective claims which are made unattributably. So, when I noticed that the publicity material announces that this production of Aladdin is the ‘North East’s Best Value Panto!’, I mentally threw down the gauntlet and challenged them to convince me of as much.

Certainly, with tickets for parties of schoolchildren priced at only £7 per head, they can claim to be the cheapest (a quick check on the internet confirmed that). But, more importantly, does the production offer high standards all-round? Does it tick every box on the panto check-list? The answer, in this reviewer’s opinion, is an emphatic ‘YES’.

Indeed, this production boasts a cast in which there really isn’t a weak link. Jassa Ahluwalia (from Disney’s Art Attack) plays the title role and his Aladdin is all fresh-faced boyish good looks and cheeky charm. Kirsty Swain (from BBC’s So You Think You Can Dance?) compliments Ahluwalia nicely, as Princess Jasmine, and they particularly shine in the musical numbers.

For the second year in succession, local lad Steve Walls returns to the Playhouse panto in the role of principal comic. Having excelled as Muddles in last year’s production of Snow White and the Seven Dwarfs, this year he takes the role of Wishee Washee and ups his game yet again. It is with total expertise that he establishes a rapport with the children in the audience, who are all thrilled to be part of his ‘gang’, yet his near-the-knuckle gags (which go straight over the kids’ heads) make him a firm favourite with the adults, too. Only a comic of the highest calibre is capable of achieving such a feat.

Paul Harris proves there really is ‘nothing like a dame’ with his perfect portrayal of Widow Twankey. Clearly a bloke in a dress caricaturing a female – which is the precise point of the Dame! – he is also believable enough as a woman to allow the audience to suspend their disbelief and accept him/her as mother of Aladdin and Wishee Washee. Personally, I don’t go in for this new breed of drag queen style dame - give me a proper, good old fashioned dame every time, in terms of sheer comedy and entertainment, and I’m in panto heaven.

Of course, every good panto also needs a good villain and Simon Barnard provides plenty of opportunities to hiss and boo in the role of Abanazar. Jimmy Burton-Iles also puts in an energetic performance as a Genie with plenty of personality, whilst supporting roles are played by Christina Kerridge (Slave of the Ring), Darren Sawdon (PC Ping Pong) and Leigh Steedman (The Emperor), some of whom also double-up as professional dancers.

The production is structured well and adheres faithfully to the story. Simon Barnard and Guy Pascall’s script, as it should be, is peppered with those well-worn jokes that are resurrected from retirement each festive season but never fail to make us laugh – no matter how many times we hear them. There’s also a slosh scene, a ‘take off’ scene (in which the characters are scared off, individually, by a ghost), sight-gags and a real flying carpet. The musical numbers are all re-workings or re-wordings of current or recent pop songs, giving a contemporary feel, and Alison Hefferon’s choreography suits them well. The sets and scenery are well-designed, too, and help bring a touch of the Far East to the North East.

It is difficult to retain the attention of some youngsters for the entire duration of a pantomime, yet this production of Aladdin seemed, for the most part, to do just that. Undoubtedly, this is because it is a fast-paced, gag-filled show which is full of family fun.

In the current economic climate money is scarce and families may only be able to see one pantomime all season, therefore they need to know that their hard-earned money is going to be well spent and the price of the tickets will be worth it. This panto most certainly is!

Steve Burbridge.

Runs until Monday 2^nd January 2012.

 

 

-         How can you tell she’s a blonde?
-         Because she’s a bitch!

Rob Young researched his play by spending ten years in an office, and it shows:  He captures the catty atmosphere and the bitchiness perfectly. Crush tells the story of Johnny and his doomed crush on Celia, the official office bitch. Although he does not find her attractive at all he has a crush on her because "she is angry about everything". So he intentionally plays the office clown and provokes her with daft statements: “She’s shouting at me. She’s giving me attention!” The trouble is, Celia does not fancy men who pant all over her desk – Johnny is asthmatic – she is dreaming of a romantic dinner, paid for by her successful, virile date. Meanwhile she is shagging Alpha male Nudds, the married marketing guy complete with everlasting sun tan and range rover. Things are looking bleak for Johnny. Then suddenly, the new temp Laura walks in – freshly hired through Office Angels, in killer heels. Laura’s caustic remarks make Celia look like an amateur and her efficiency is such that she starts typing even before she has been assigned any work.  Now it's up to Celia to maintain her position as bitch queen.   

Aptly directed by Laura Casey, the actors effortlessly switch from monologues to dialogues, their comic timing flawless. There is at least one good joke a minute. But there is much more to this play than funny repartees, it makes some very valid observations of human relationships and the insanity involved. 

Erin Richards is cold and aloof as Laura but very touching in her one weak moment. Matt Roberts is desperately jealous and therefore desperately funny as Johnny. Dolly Wells is the sarcastic Celia who feels invisible spending 18 hours a day on a paper that nobody cares about.   

The entire run is almost sold out so please hurry to get your ticket.

http://www.finboroughtheatre.co.uk/productions/2011/production-papatango.php

 

Finborough Theatre
118 Finborough Road
London
SW10 9ED

Theatre Royal, Glasgow (17 - 31 December 2011)

 

Ahead of the curtain there is a real feeling of anticipation in the auditorium.  A look through the beautifully presented programme / brochure featuring details on composition, artistic process, company and rehearsals gives a sense of the love, care and reverence that this production has received.  As the lights dim, there is just time to glance into the expansive orchestra pit of the Theatre Royal to see row after row of attentive musicians as they await the first upbeat from Resident Conductor, Richard Honner.  We are clearly in for a Christmas treat!

The curtain opens on a simple scene outside a doctor's office as the concerned King (Owen Thorne) and Queen (Eve Mutso) learn of their inability to conceive a child.  But the good Lilac Fairy (Noellie Conjeaud) is able to intervene with magic.  The doctor's office is swiftly struck to reveal the impressive set of the Royal Gardens featuring a substantial summer house which pivots smoothly to allow space for the ensemble to weave their magic of dance in celebration of the Royal Christening.  In this open setting we are also able to appreciate the lighting effects adorning the set from Designer, Anthony McDonald.  Subtle but effective changes of colour are used to influence mood as the many principals perform for the assembled Royal Party.  We are also treated to a mist effect around the trees giving the backdrop an ‘other-worldly' quality appropriate to the tale.  The quality continues into Act II as the enchanted forest setting is given an ethereal depth as we meet more fantastic characters like Snow White, Cinderella and Red Riding Hood.  Costume-wise, we are treated to flowing gowns and royal finery across two centuries as the Beauty, Princess Aurora, and her royal court sleep for a full hundred years.  With the initial part of the tale set in 1830, the story reaches a happy conclusion in 1946 … and it is a real joy to see such breathtaking choreography performed in 20^th century costume.

Tchaikovsky's immortal score was performed with power and sensitivity by the Scottish Ballet Orchestra.  Ashley Page's artistic direction incorporates a great deal of humour with the bad fairies portrayed as wicked (rather than evil) for the family audience.  Several laugh-out-loud moments reached a peak, for me, at Princess Aurora's birthday celebration as the audience was teased with a number of sharp objects upon which the cursed Princess might prick her finger.  Would it be the hedge shears wielded by the gardeners (who looked strangely like the bad fairies), or perhaps the swords worn by Aurora's four suitors … no, it would be the 8 foot tree-like comedy cactus presented in a gift pot at the end of the scene!

Performances from Claire Robertson and Eric Cavallari as Princess Aurora and her Prince were captivating and I would be remiss were I not to mention the beautifully charismatic performances from Tomomi Sato as the Fairy of Song and Lady Bluebird.  All of the principals were expressive and displayed superb synchronicity throughout the performance.  The production was exquisitely executed and a joy to behold.

Listings Info:

Scottish Ballet "The Sleeping Beauty"

Sat 17^th to Sat 31^st December 2011

Tickets: £7 - £35

Box Office 08448 717 647 (Bkg fee)

http://www.atgtickets.com/Scottish-Ballet's-The-Sleeping-Beauty-Tickets/2/530/ (bkg fee)

 

Tour details:

Festival Theatre Edinburgh
11 - 14 January 2012
Tickets from £10
Box Office 0131 529 6000*
BOOK ONLINE NOW  Full booking details

His Majesty's Theatre Aberdeen
18 - 21 January 2012
Tickets from £11.50
Box Office 01224 641122*
BOOK ONLINE NOW Full booking details

Eden Court Inverness
25 - 28 January 2012
Tickets from £14
Box Office 01463 234 234*
BOOK ONLINE NOW Full booking details

 Theatre Royal, Newcastle
1 - 4 February 2012
Tickets from £10
Box office 08448 11 21 21
BOOK ONLINE NOW Full booking details

Manchester Royal Exchange is the only game in town for adult theatre-goers this Christmas.  Their Yuletide offering is always an out-and-out comedy, whether that be traditional English farce (See How They Run, 2008), European classic (Cyrano de Bergerac, 2006), or, as with 2005’s Harvey, an American screwball comedy perhaps better known in a black-and-white film version starring James Stewart.

Kaufman and Hart’s You Can’t Take It With You is an absolute fit for the latter category, although this co-production with Told by an Idiot Theatre Company is so extraordinarily physical and theatrical it completely dispels all sepia-tinted memories.  The madcap household of thwarted balletomanes, aspiring playwrights, xylophone-playing printers and exotic animals would be matter enough, but when you throw in a Russian émigré dancing master, an unexpected tax inspector, and most worryingly of all an amateur firework-maker, you can expect things to go with a bang.

Apart from the pyrotechnics, flying ballerinas and animatronic snakes, director Paul Hunter almost turns the play into a Busby Berkeley musical with scene changes re-imagined as dance sequences from The Great American Songbook.  There are endless bits of slapstick and comic business that would have done the Marx Brothers proud, as well as occasional moments of disaster that might just be deliberate.

Outstanding among the frenzy of (deliberate) over-acting are Golda Rosheuvell as the best stage drunk I’ve ever seen, Maggie O’Brien playing Grand Duchess Olga, an exiled aristocrat who now waits tables with sneering condescension, and Miltos Yerolemou in an electrifying performance as the terrifying maitre de ballet.

Paul Hunter takes full advantage of the proximity of the audience to involve them directly in the action - the people in the cheapest seats (the banquettes at the front) probably had the best night of all, which is entirely appropriate for a play that cocks its snook at materialism and wealth.

On the face of it an anti-capitalist screwball comedy might seem a real play for today.  But You Can’t Take It With You fails to answer the paradox at its own heart: true, it takes a swing at Wall Street bankers like Mr Kirby (Martin Hyder with a comb-over hairdo that deserves its own programme credit), but has nothing to say about Grandpa Vanderhof (an avuncular Christopher Benjamin) who maintains his family’s unconventional lifestyle by living off the substantial rents of his buy-to-let property portfolio; and his elaborate tax evasion scam is more or less eulogised, the dirty plutocrat!

Laura Hopkins’ set-on-wheels and Sian Williams’ choreography are at the heart of the show’s success.  Judging by the queues at the box office on press night, this is Manchester’s answer to One Man, Two Guvnors.  Smug in the knowledge that I’m already booked in again for January, I advise you to buy your tickets at once.

YOU CAN’T TAKE IT WITH YOU is on until Saturday 14 January 2012
Prices £9-£33
Evenings: Mon-Fri @ 7.30, Sat @ 8pm
Matinees: Wed @ 2.30, Sat @ 4pm
Christmas & New Year performances vary - see website
Box Office: 0161 833 9833
www.royalexchange.co.uk

When I was one
I ate a bun
The day I went to sea
I jumped aboard a Pirate Ship
And the captain said to me
We’re going this way, that way,
Forwards, backwards, over the Irish Sea
A bottle of rum to warm me turn
That’s the life for me! 

Of course there aren’t really any pirates in Cinderella, which is principally a romantic fairy tale story, but the kids love them and so a singalong of this song  was included. There is much to enjoy in this family friendly show that marks Jenny Éclair’s debut in panto as a funky Fairy Godmother who also serves as the narrator. The lavish production is geared completely towards children and there is plenty of audience participation to make sure the kids don’t get bored. The sets are stunning, they seem to come right out of a fairy tale picture book, and the costumes are colourful and original (sets and costume design by Terry Parsons). The getup of the Ugly Sisters is especially outrageous with Eugenie wearing a whole Christmas tree as a dress at one time.  No costs were spared. There is even a real horse-drawn carriage to take Cinderella to the ball. 

 

We all know the “rags to riches” story of the kind-hearted Cinderella who is treated abominably by her horrid stepsisters but finds true love and happiness when she meets Prince Charming. In this production the Ugly Sisters Beatrice (Graham Hoadly) and Eugenie (Paul Burnham) are veritable monsters and enjoying every second of it – and so are we when they are cracking jokes about us after returning from a holiday in Slough. Gary Wilmot is wonderful as Cinderella’s best buddy Buttons whose feelings go far beyond friendship. His comic timing is spot on: “He is so stingy. When he had a hip replacement he asked if he could keep the bone for the dog.” If it wasn’t for the gruesome stepsisters, Wilmot’s lovable character would steal the show with his jokes and antics. Robert Aldous is quite good as Cinderella’s father, the quirky Baron Hardup, and Ben Redfern is funnily efficient as Dandini. 

This show is a great night out for the youngsters. It runs until 15 January 2011 at the Richmond Theatre.

Richmond Theatre,The Green, Richmond, Surrey, TW9 1QJ

http://www.atgtickets.com/Cinderella-Tickets/45/531/

Carolin Kopplin   

Sell A Door Theatre Company presents

A Christmas Carol

 

Co-directed by David Hutchinson and Anna Schneider

Music by Richard Reeday

Run from 6th December 2011 to 15th January 2012

Watched on 15th December 2011

Set in the Financial Crisis of 2008

 

Cast-

Stephen Barden- Scrooge

Nick Bechman- Ghost of Christmas Yet To Come

Tara Goldolphin- Ghost of Christmas Present

Katrina Innes- Mrs. Cratchett

Rowena Lennon- Mrs. Maggs

Jess Mack- Ghost of Christmas Past

Charlotte Mason-Apps - Belle

Jenny Palmer- Belinda Cratchett

Christopher Rowland- Fred/fezziwig

Rosie Thorpe- Tiny Tim/ Swing

Lee White- Bob Cratchet

Jonathan Ashby-Rock - Swing/ DSM

 
If you're a fan of physical theatre, then this is a stellar show for you. Bursting to the brim with clever choreography and synchronised dances, David Hutchinson and Anna Schneider have shaken up this Dicken’s classic into a dynamic, humourous and, at times, impressively sinister affair. A spectacular production that highlights the mastery of good direction.

 

Stephen Barden creates a great ‘man of money’ Scrooge. Wrapped up in a tailored suit and in his own self-importance, Scrooge is a man who sees the world as the pursuit of more money and more wealth. In this version, Scrooge is an intelligent articulate Investment Banker, who commands the fear of the people around him, the likes of which he regards as ‘parasites’. The Church’s carol singers are quickly dismissed and his nephew Fred (Christopher Rowland) is sent away- along with all hope of Scrooge spending Christmas with his family. Poor Bob Cratchett (Lee White) gets a good deal of misery from the harsh rules and punishments that Scrooge mercilessly dishes out.

 

It is a truly miserable outlook on Christmas, until we have the arrival of the ghost of Jacob Marley. As the play opens, the jarring disturbed scene of Jacob Marley’s funeral initially gathers all the cast,while setting up the somber tone of the beginning. Scrooge’s late friend and business partner, Jacob, reappears into Scrooge’s room strapped down with heavy chains, representing the toll of his wrong-doings whilst he lived. Bob brings a warning that Scrooge is close to achieving the same fate and forewarns him of three visits by the Ghosts of Christmas.

 

Jess Mack plays a very youthful and innocent Ghost of Christmas Past, playfully scaring Scrooge and giggling. She shows Scrooge the details of his past, but it is easily a past that we can all relate to- nervous First Love, dancing disaster and finding your feet with new people. Laugh out loud awkward conversation ensues when Young Scrooge, played by Nick Bechman, tries and wins the love of Bella (Charlotte Mason-Apps) - the endearing emabarrassment of asking a girl if he can ‘please get you drunk?’ is enough to charm anyone. However, as with Dicken’s original, the pure love he gains is later destroyed as Greed and Vanity take a hold of Scrooge’s heart.

Alongside Scrooge’s memories, we get treated to natural realism from Bob Cratchett’s family. Katrina Innes and Lee White do some great work as Bob and Mrs. Cratchett, showing a wonderful relationship that has a sense of real history. The children, Belinda, Martha and ‘Tiny’ Tim Cratchett (Jenny Palmer, Jess Mack and Rosie Thorpe) talk of Christmas presents and Turkey- all desires that are a little out of grasp in the Financial climate of 2008- and perhaps prevalent in our Credit Crunch of Winter 2011. It seems that the overhauling ecomonic conditions pervade over everyone without prejudice- even Scrooge remarks that the ‘investments are not growing as they should be’. I shift in my seat with dread as the Cratchetts worried over medical bills for Tiny Tim.

 

Huge laughs come from the Ghost of Christmas Present, and- boy!- did she present the present party generation. Loud, crass, good-time Ghost of Christmas Present, played by Tara Godolphin, earns the jolly atmosphere with her naughty behaviour, excitable hyperness and a bag stuffed with every party accessory under the Sun (I stopped recording what they were after we reached the cracker joke).

 

Keeping to the Dicken’s original, we end with the Ghost of Christmas Yet To Come. While most versions undercut this part, we are given a well paced version of the Future and what lies in store for the characters. The death of Tiny Tim is accompanied with superb acting and heartwrenching realism. The Ghost itself strikes terror as a build up of rage and anger is unleashed upon the thoughtless Scrooge. The brutatlity of the malicious reactions to Scrooge’s own death is the final horrifying vision that marks Scrooge’s change into a grateful, happy soul. Christmas Day. Morning. And we see the vast contrast in character. And I smile along with him.

 

A jolly musical chorus rounds off this play nicely and I couldn’t help feeling enamoured by the charm of the tale’s message. Scrooge is transformed from a greedy and selfish person, to a warm-hearted and happier soul. The knowlegde that Christmas is just a few days away is a reminder to be kind and giving in this festive period. ‘Tis the season... This play comes across as a very tight,well rehearsed production; and it should with a cast of acclaimed academy graduates. As impressive as rehearsing and performing after two weeks, they all have a fantastic singing repetoire among them. Christmas festive cheer was definitely in the room with a revelry of songs and carols throughout the play that were beautifully delivered. Accompanied by a very well thought-out ad executed score by Richard Reeday, it delivered very highly on the musical theatre scale. My verdict- go see this show before you miss out.

 

Address: Greenwich Playhouse

Greenwich Station Forecourt

189 Greenwich High Road

London SE10, 8JA

Telephone: 020 8858 9256

E-Mail: BoxOffice@Galleontheatre.co.uk

http://www.galleontheatre.co.uk/

 

Tuesday-Saturday @ 19:30; Sundays @ 16:00

(Except 24th, 25th, 26th, 27th, 31st Dec and 1st Jan 2012)

Tickets £13, £10 (concession)

Jack and the Beanstalk

The Gala Theatre, Durham

In an age where the genre of pantomime is a big bucks business dominated by huge companies including Qdos and First Family Entertainment it is commendable that some theatres still choose to produce their Christmas show in-house. It is even more of an achievement when relatively small theatres, such as The Customs House, South Shields (which seats 441) and The Gala Theatre, Durham (which seats 500), stage productions which not only hold their own against the corporate big boys but, in many ways, better them.

Once again, Simon Stallworthy takes charge of the pantomime at Durham’s Gala and he sticks to the tried and tested winning formula that has proven so popular for the past four years. His script is crammed so full of corny comedy gags, thigh-slapping adventure, romance and marvellous magic that you’re eating your interval ice cream before you even know it!

Taking heed of the old adage, “If it ain’t broke, don’t fix it”, the cast is led by the usual linchpins. Paul Hartley and Jane Deane, as Jack and Jill, are the daftest double-act in pantoland and the kids love them for it. Year after year, this dynamic duo amaze and entertain the audiences with an array of physical comedy and circus skills – and, year after year, their popularity increases. Donald McBride dons the flamboyant frocks, once again, this time to play Dame Shrivell, complete with trademark ‘posh Geordie’ dialect. And Neil Armstrong makes a welcome return as Fleshcreep, Giant Blunderboar’s horrible henchman.

Alongside the familiar faces are some new ones. Jane Holman is a delight as frazzled Fairy Hazbean, Mark Stratton plays it straight as Baron D’Oolally, and Hayley Emma Otway is his feisty daughter, Lucy. The inclusion of Brian Blessed’s booming voice as Giant Blunderboar is a clever way of getting a star name on the poster without busting the budget, too.

The essence of true panto is woven throughout the entire show, which sticks closely to the original concept: plenty of audience interaction encouraging the kids to get involved, references to local places and current events, the obligatory slosh scene, a frantic foray into the auditorium, a side-splitting ‘Twelve Days of Christmas’ routine (complete with preposterous props!) and of course the mandatory sing song towards the end and prior to the inevitable wedding. All tried and tested stuff – it’s what the audience demand and is certainly what is delivered.

Technically, this is an impressive production, too. Initially, I was concerned about the sparsity of the sets but these fears proved to be unfounded when it became apparent how much the performers actually use the stage space. In fact, any additional scenery would not only have been superfluous, but a potential hazard. Deborah Shaw (keyboards) and Carl Thomson (percussion) competently boosted the recorded backing tracks and conveyed the impression of a full orchestra, while Jane Moran’s choreography was executed with precision by five dancers and a troupe of babes from the Gala Theatre Stage School.

Pantomimes don’t come much bigger than this ‘giant’ production (pun intended!) of Jack and the Beanstalk, which is highly recommended. However, it is advisable that tickets should be pre-booked, rather than turning up ‘on spec’. With demand so high and tickets selling so fast, a number of performances are already sold out – and that is probably the most resounding endorsement of all.

Steve Burbridge.

Runs until Saturday 7^th January, 2012

 

Has Manchester’s fringe theatre scene ever been in finer fettle?  A testament to its vigour is that among the numerous pantomimes, musicals and children’s shows which infest the city’s venues at this time of year there is still an enthusiastic audience for a brand new play, presented in the tiny space at the top of The Lass o’ Gowrie by young company Hazel Tree Productions.

Playwright Chris Dance puts a cynical spin on the season of goodwill by setting his comedy in Britain’s grottiest Santa’s Grotto, where put-upon shop-girl Laura (endearingly played by a starry-eyed Hazel Earle) is contractually obliged to wear the stripy stockings, fluffy red boots and pointy felt hat of one of Santa’s Little Helpers.

Her peaceful lunchtime sandwich among the sacks of presents, stuffed reindeer and fairy lights is interrupted by co-worker Julie (hilariously lairy Emma Laidlaw), who has disguised herself as an elf and fled the lingerie department for a natter with her friend, even though their manager has already tried to separate her from Laura for being a “bad influence”.

Chris Dance explores the girls’ fundamentally different natures with tart characterisation and plenty of wit - Julie is the party-loving singleton who stashes gin, brandy and half-eaten kebabs in her handbag, while romantically-thwarted Laura is the kind of person who revises for a game of Trivial Pursuit after the Queen‘s Speech.  Their tête-à-tête is interspersed with fleeting appearances from Father Christmas himself - David Slack’s downbeat northern Santa is straight out of The Last of the Summer Wine, and his white curly wig wouldn’t disgrace Lady GaGa.  And Mike Seal as Clive, the unworldly Elvis-obsessed busker, tops and tails the story beautifully, ending with a rousing sing-along.

Director Jake Murray - late of The Royal Exchange, where he was responsible for the excellent Ma Rainey’s Black Bottom and A Conversation - makes a welcome return to Manchester with this sweet and funny production.

Early booking is recommended, as tonight was sold out.  May I also advise bringing a shoe-horn and a plunger - one for squeezing into your seat with at the beginning, and the other to extricate yourself at the end.

Grotto is on at The Lass o’ Gowrie, 36 Charles Street, Manchester M1 7DB until Saturday 17 December 2011
Tickets:  £6 from www.ibookedit.com
Performances: Thurs & Fri @ 7pm & 9pm; Sat @ 4pm & 7pm
www.hazeltreeproductions.co.uk
www.thelass.co.uk