UK Theatre Network

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

Dick Whittington

After last year’s hugely successful panto, Cinderella, I wondered how the Waterside Theatre would be able to emulate its former achievements.  I needn’t have worried, as Dick Whittington actually exceeds Cinderella for pure entertainment value.  This production is very slick and polished with non-stop gags and laughs throughout that had us all in stitches.  The cast, direction, set, costumes and choreography are all superb and this really does provide a fantastic evening of festive fun and frolics for all the family!

Panto King, TV and West End star Jonathan Wilkes plays the very likeable and hapless Dick, a role he played in his home town of Stoke two years ago. With a stunning career in theatre and the West End Jonathan has taken the lead in smash-hit shows including Godspell, The Rocky Horror Show, Grease, Guys and Dolls, Tommy, We Will Rock You, The Wedding Singer. He truly is one of our great all round entertainers; very charismatic with a belting singing voice, warmth, wit and the ability to relate to people of all ages.  I’m sure it’s only a matter of time before he has his own entertainment series on TV and becomes known for his talents in his own right and not just as Robbie Williams’ best mate!

Jonathan also directed the panto and has made this an ensemble piece, so all the principals get a fair crack, which makes for a more interesting and rounded show.  The direction is tight and pacey and every possible gag is eked out.  Naturally there are plenty of ‘Dick’ jokes for the adults to enjoy as well as all the visual gags and the usual audience participation for the kids.

The show is opened by EastEnders actress Gillian Wright as Fairy Bow Bells, who gives a very energetic and adept performance.  Unsurprisingly there are a lot of references to her role as Jean Slater in EastEnders and the recognisable ‘duff, duff, duffs’ are played several times.

Christian Patterson, who is co-director and plays Sarah the Cook, performed a short stand-up comedy routine of gags to connect with the audience, before settling into the role of the hideous Sarah with her grotesque outfits.  Christian has an impressive CV of theatre and TV credits and is an associate artiste of Clwyd Theatr Cymru.

Suzanne Carley is the pretty Alice Fitzwarren who falls in love with Dick, loses him and, in true panto style, is reunited for their happy ending.   Suzanne has her own pop band, iPop and has toured the UK, Europe, Middle East and China and Australia.


Her father, Alderman Fitzwarren, is played with great verve and aplomb by Tim Hudson, who also plays the small role of the Sultan of Morocco.  Tim was recently seen in BBC1’s Doctors in a role described as ‘a puma in the snow’!  He has also played a Barrister in EastEnders and, as he usually plays the dame in panto, says he is ‘delighted to be making his debut at the Waterside Theatre in male apparel!’

Everyone loves to boo the baddie and Steven Serlin is an exceptionally good King Rat, with all the rodent-like moves, noises and expressions he was a joy to watch.  He also managed to make the character likeable, which is no mean feat and was great at ad-libbing with the audience.  With a powerful singing voice it’s no surprise that Steven has had an amazing career with notable performances in Little Shop of Horrors and Elvis the Musical.

Kayleigh Wilson is the lovable Tommy the Cat, who helps to see off the rat infestation.

Choreographer Nikki Wilkes has done a sterling job with some fantastic dance routines and I particularly loved the breakdancing rats and the routine to Jai Ho in the Sultan’s palace with the gorgeous costumes.  The red and gold costumes for the finale were also stunning.  Another highlight was the underwater sequence with the giant pink octopus, jelly fish and sea horses.

The rest of the ensemble company are Oliver Tranter, Carla Moorby, Bayley Darling, Rebecca Ridgwell, Gemma Formaston, Aaron Corden, Mikey Frome and Stuart Morris. 

The Juveniles are in the Red Team: Ava Kempster, Pansachol Child, Zoe Robertson, Micaela Perez, Isabella Galloway, Maisy Middleton, Lucy Fox, Katie Hopkins, Jessica Adair, Tamika Wilson, Jessica Hopkins and Georgia McElwee.  In the Blue Team: Ella Sargeant, Abigail Coney, Rebecca Mabey, Lucia Belardo, Amelia Mitchell, Sophie Bewick, Molly Saunders, Alfie Stewart, Chloe Bewick, Hannah Jarvis, Lauren Jarvis and Jessica Mabey.


The script was written by panto stalwart Eric Potts.  Lighting Designer was John Tapster.  Musical Director was Dean Austin with Musical Supervisor and Arranger Chris Hall.  The show was produced by Chief Executive of First Family Entertainment, Kevin Wood.

This panto is really good fun and will make a great  Christmas family outing, as it has something for everyone!

Performance times and dates:

December 14 th
10.30am
19.00pm
15th
13.30pm
19.00pm
16th
13.30pm
19.00pm
17th
14.00pm
19.00pm
18th
13.30pm
17.30pm
19 th & 20th
14.00pm
19.00pm
21st
14.00pm
19.00pm
22nd
14.00pm
19.00pm
23rd
14.00pm
19.00pm
24th
13.30pm
17.30pm

26th
13.30pm
17.30pm
27th
14.00pm
19.00pm
28th
14.00pm
19.00pm
29th
14.00pm
19.00pm
30th
14.00pm
19.00pm
31st
13.30pm
17.30pm

Tickets:  £10.00-£31.00 
Box Office:   0844 871 7607 (bkg fee)
Groups Hotline:  0844 871 7614
Access Booking: 0844 871 7677 (bkg fee)
Online Booking: www.atgtickets.com/aylesbury   (bkg fee)

Reviewed by:
Yvonne Delahaye
13/12/11

End of the Rainbow, Richmond Theatre

 
Cast: Tracie Bennett - Judy Garland
Hilton McRae – Anthony
Norman Bowman – Mickey Deans
Robert Maskell – Radio Interviewer/ Porter /ASM

           

           
              © Writer: Tremayne

 

‘Forget your troubles and just Get Happy.  You better chase all your cares away.  Sing Hallelujah, come on, Get Happy.  Get ready for the judgement day.’

(from “Get Happy”, a song often sung by Judy Garland).

 

I am immediately struck by how convincing Tracie Bennett’s American accent is.  As for her singing voice, it is spot on.

A heart rendering line from Judy that will come to mean more as the play unfolds is: ‘..he doesn’t like it when I dig up the old husbands. They don’t get along!’, when referring to her new fiance, Mickey Deans (Norman Bowman).

I find Bennett has a certain composure not unlike that of the character Blanche in The Golden Girls, played by the late Rue McLachlan. I particularly notice this aspect in her as she comes to leave the hotel suite, and playfully says to Anthony (Hilton McRae), her long time Pianist, ‘Well, of course you’re invited, you’re paying!’

 

 

Scene Two only highlights the close friendship of Judy Garland and Anthony by the patience he shows when it comes to her first run-through of the songs she will sing in Concert in London.  She insists on having adequate time to warm up, and it is not long before she is lighting up.

In a swift change of scene we find ourselves the live audience Garland is performing to.  This idea has been used time and time again on Stage, one example which springs to mind is The Sound of Music.  It still, however, holds up, particularly when Bennett shows off Garland’s truly vivacious personality.

After her performance she insists her fiancé allow her some non prescription medicine to help her sleep.  He eventually agrees, in part because he is also her Manager, and should she not please her audience, it would bear a bad reflection on him.  A heartless individual in every way!

 

Garland appears to do a disappearing act at the end of her first performance. When she is brought back to the hotel by hotel staff her fiancé begins to lay into her.  She retaliates by saying, ‘suck my dick!’  Now, whether this speech is accurate to the type used by Garland, herself, is another matter but I believe that for Playwright, Peter Quilter, it was more about getting across the sort of person Judy Garland was.  Without a doubt he manages to do that, and with a tremendous amount of success!

 

As Garland waltzes her way to the bedroom, she grabs the bag of her pianist, knowing there are prescription drugs inside but we learn later that she has taken the medication the vet gave his sister for her Spaniel.

What could have been a sorrowful scene highlighting Garland as a dependent on prescription drugs, consuming a combination of them for various purposes: to help her to sleep, to wake up and to curb anxiety levels before either shooting the scenes of a film or stepping out onto the Stage. Her parents could more than likely be blamed for this, as they would have reinforced the idea, forcing her to get up at 4 am, with a 15-hour day ahead at the Studio. Every kind of drug would have been dished out to make sure she performed to her best ability. She knew of no other way to capture the Starlet that was Judy Garland.  Quilter, however, manages to pull humour out of tragedy.

This is made reference to in the play after Garland is lifted clean off the ground  by her fiancé and carried over to the mirror to catch a glimpse of herself, as she adds: ‘I could have flown down the yellow brick road!’

 

It is rare in Musical Theatre to come across a Performer whose ability and talent are high both in Singing and Acting but in Tracie Bennett we find it all.  She is the very essence of Judy Garland, who ultimately was searching for love.  A love she received from her father but not her mother, and in marriage she found that men would fall in love with her star status but then, when she so much as revealed a bit of herself to them, they would scarper. 

Anthony challenges Mickey when he catches him screwing up the cap of a bottle of ritolin; reckoning on him seeing her as his meal ticket!

Garland, in front of Anthony ,throws the remainder of tablets out the window for the pigeons to feed on.  He encourages her to cancel all forthcoming shows, and for her to come and live with him. Although he won’t be able to offer her much in terms of income, he can offer her a piano. Two forms of genuine love, in the form of friendship and Music.  And who could want or need for anything more?..

Facts follow about Judy Garland’s Funeral in 1947, which was paid for by Frank Sinatra and watched by an estimated 2,000 followers.

The song, ‘Somewhere over the Rainbow’ sends chilling echoes throughout the theatre, and despite Garland’s passing into heaven, her legend is shown to live on as Tracie Bennett takes to the stage once more for a welcome Encore.

SUPERB panto this year at MK Theatre!

This is essential family entertainment this year and, for me, the best pantomime ever put on in MK theatre!
A fast paced show with a very strong cast, tons of music, great singing – very current tunes so easy to sing along to, very high energy dancing, lots of audience participation – well for some people!! At least try to look like you are enjoying yourself (sigh!). Gareth Gates hit the big time in 2002 in Pop Idol but more recently has concentrated on developing his theatre career with stints in Joseph and his Amazing Technicolour Dreamcoat and a critically acclaimed performance in Les Miserables. He is BRILLIANT, very sweet and funny, and with Nicola Brazil as the Princess the two of them are really charming. They both have gorgeous voices and their duets were believeable and romantic. 
There are tons of laughs and at times total hilarity - as always in panto not all of them planned! It’s Paul Burling’s role, as Wishee Washee to provide the majority of the laughs and he does not disappoint. This Britain’s Got Talent finalist is in his element, born to be on stage and a fantastic entertainer; one set of impressions will have you both laughing and astounded at the speed of them. He is perfect.
Widow Twanky (John Barr), is excellent, very sharp and quick, full of double entendres, but not in an overly smutty way; this is a big improvement on recent years when the humour has stepped over the line into being unsuitable for younger audiences. This year it was fabulous to see that this is truly family entertainment.
Major Pong (Chris Nelson) was suitably daft and silly. Abanazer (Adam Pearce) is incredibly strong, with great stage presence, a larger than life character with a belter of a voice; suitably bad and scared the living daylights out of a particular 4 year old!

The rest of the cast from adult to child and even elephant gave it their all! This is SUPERB cast from start to finish.
In addition to the cast, there is lots of glamour – and not just from Widow Twanky’s costumes! The genie of the ring and the genie of the lamp (Camilla Dallerup) were a treat for the men! There are truly gorgeous backdrops and scenery, all garishly coloured and smothered with glittering, sparkling sequins. There is a definite nod to Strictly here.
The added attraction at MK is the guest genies that will appear over the run - Russell Grant (20 – 24 Dec) and Anita Dobson (26 – 31 Dec) from this current season of Strictly. Camilla Dallerup will perform at all remaining performances except Fri 6, Sat 7 & Sat 14 Jan.
A real first class show, perfect family entertainment. But please, if you go, try and show some enthusiasm. It’s hard work being on stage so give something back and show some appreciation!

Run continues until 15 Jan 2012
Milton Keynes Theatre Box Office, Call 0844

8717652 (bkg fee) or visit www.atgtickets/miltonkeynes (bkg fee)  

John Savournin 

My life is one big adventure and that’s how it’s going to stay.

Beowulf, the oldest Anglo-Saxon epic, is an unusual choice for a panto and quite a different Christmas show, but Charles Court Opera once again manage to produce an intriguing and highly entertaining piece of theatre!

As the Spirit of Good Cheer (Sian Winstanley) provides an introduction the curtain, suitably painted with ravens,  rises.  The monstrous Grendel (Philip Lee) arrives at the castle to catch fresh food for the Dragon. He has been hunting King Hrothgar’s courtiers for this purpose, and the King is not amused. Hedonistic King Hrothgar (Simon Masterton-Smith), a partying alcoholic, is holding out for a hero when suddenly macho  man Beowulf (Kevin Kyle) and his sidekick Wiglaf (Amy J Payne) appear. Beowulf promises to “bring disco and dance back to your realm!” King Hrothgar is delighted and soon introduces our hero to his lovely daughter Hrothmund (the wonderful Catrine Kirkland). Unfortunately, Beowulf is a better swordsman than lover and punches the Princess in the face in order to win her love. His tough guy attitude works better in his fight with Grendel whose arm he swiftly cuts off -  to the chagrin of Grendel’s Mother (an utterly charming and lovely John Savournin).  Who is now going to hunt prey to feed the Dragon? Soon the whole country is thrown into chaos because the Dragon is on the loose! Now only Beowulf can save the day.  

John Savournin, who is also the director and choreographer, cleverly combines the dramatic story with comic elements including the courtly comedians Aeschere and Unferth (played by the pianists James Young and David Eaton) and a variety of songs and music from Sondheim to Bernstein. The characters are stock characters but funny and charming. Interestingly enough Grendel is the most touching character of them all – he only fed the courtiers to the Dragon because he was misguided. In reality he is a softie who is afraid of sheep. The great hero Beowulf is shy and awkward with girls.

There is plenty of audience participation in this show culminating in a food fight when Grendel’s Mother is trying to cook fish fingers choosing two lucky members of the audience as volunteers.

Beowulf – the Panto plays at the Rosemary Branch Theatre until 8 January 2012.  Please hurry, many performances are already sold out! 

The Rosemary Branch, 2 Shepperton Road, London N1 3DT

Box Office: 020 7704 6665

Carolin Kopplin 

Dick Whittington

The Tyne Theatre & Opera House

‘Three things are required at Christmas time; Plum Pudding, Beef and Pantomime; Folks could resist the former two; Without the latter none could do.’

Times may have changed since the above rhyme appeared on an old pantomime handbill, but sentiments haven’t and pantomime remains an integral and essential part of Christmas for many families and theatres across the country. Indeed, for many theatres, the panto is their lifeblood – it is what keeps them afloat financially for the rest of the year. For me, personally, a trip to see ‘the Geordie pantomime’ at the resplendent Tyne Theatre & Opera House, a Grade 1 listed theatre, situated in the heart of Newcastle, is as much a part of Christmas as turkey and all the trimmings.

The Newcastle Panto Company have brought their traditional brand of pantomime to the venue, annually, for a number of years now and audiences return in their droves, each festive season, to see stalwarts including ‘Maxie & Mitch’, Kevin O’Keefe, Charlie Richmond and Catherine McCabe do what they do best – make people laugh.

This year’s production of Dick Whittington brings together the familiar faces and introduces a couple of new ones. As usual, writer and director Brendan Healy has ensured that the show ticks all the right boxes: beautifully detailed sets and scenery; colourful costumes; comedy capers; Geordie dialects and references; boy meets girl; romance and adventure; good triumphing over evil, etc, etc. However, the winning formula has been somewhat changed and, as a result, the show suffers slightly because of it.

As usual, Billy Mitchell (Long John Slavver) and Max Peters (Captain Scuttle) are the comedy double-act that audiences know and love. Yet, without Kevin O’Keefe’s Dame to bounce off, they seem slightly disconcerted. Instead, we have Terry Joyce (making his pantomime debut as Bessie the Cook) serving up more irksome impressions than culinary cuisine and demonstrating a total unsuitability for the part, whilst Kevin O’Keefe is relegated to the dual role of Alderman Fitzwarren and The Sultan of Morocco – both of which are thankless parts, limiting him considerably.

Charlie Richmond retains the role of the simple sidekick, this year playing Idle Jack to Catherine McCabe’s principal boy, and he displays a great rapport with the children who are brought on stage towards the end of the show. Samantha Phyllis Morris, as Alice Fitzwarren, plays principal girl for a second consecutive year and does exactly what the role requires of her – looks attractive, sings sweetly and swoons over Dick Whittington.

Jayne Mackenzie (who was last with the company in Aladdin, two years ago) returns as a campy-vampy Queen Rat and, despite being the strongest singer in the cast, tends to deliver her dialogue with such volume that one might think she intended it to be heard in the auditorium of the Theatre Royal. Resident choreographer Emily Swan also plays possibly the most rewarding of all ‘skin’ parts, Moggie the Cat.

There’s no doubt that this particular version of Dick Whittington has all the hallmarks of a great pantomime, provided that some attention is given to certain scenes. With a bit of tightening here and a spot of trimming there, I’m sure that the Newcastle Panto Company will be back on top form faster than you can say ‘Ship Ahoy!’

Steve Burbridge.

Dick Whittington runs until 2 January 2012.