UK Theatre Network

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 

Les Ballets Trockadero de Monte Carlo –

Theatre Royal, Glasgow (17^th – 18^th Feb, 2009)

The “Trocks” jeté onto the Glasgow stage with a hugely entertaining look at ballet albeit from a very different perspective.

For those who have never heard of Les Ballets Trockadero de Monte Carlo, this is an all male ballet corps, who perform both the male and female roles in traditional and contemporary ballet pieces. This includes their now famous version of Act 2 of Swan Lake. For those traditionalists who think that they couldn’t watch Odette without seeing her “en pointe”, never fear, these extremely talented danceurs fully take on their role as ballerinas and that includes dancing en pointe. However, the dancing is only one part of this interpretation, and the comedy that comes from the dancers exaggeration of styles, and their displays of “prima ballerina” behaviours is equally as important. The facial expressions, aided by the unsubtle make-up, are themselves hysterically funny, and also tightly choreographed.

The comedy and dance came together beautifully, typified by the exceptional Grand Pas De Quatre, featuring Camilo Rodriguez, Claude Gamba, Christopher Lam and Joseph Jeffries. Each representing a famous ballerina from the original Le Grand Pas de Quatre, they brought the offstage rivalries onstage and gave a thoroughly deceptively comic performance. I say deceptive, not to describe the comedy, but to describe the talented dancing. You easily forget the skill required to perform many of these routines, and that it not only needs a talented dancer, but a “performer” to retain the energy in what could easily have been a one-gag show.

The simple sets, using only a backcloth, help to show off the far more elaborate costumes. The swans looked simply beautiful, even with the odd hairy chest amongst the troupe. I would also urge any audience member to purchase a programme for this show. Not only does it have lots of information on each of the cast members, but the continuation of the humour throughout helps to carry this show all the way home with you.

Catch the Trocks before they take flight from the UK in March. Tour details are listed below.

Performances:

17-18^th Feb            Glasgow, Theatre Royal            www.theatreroyalglasgow.com

20-21^st Feb            Edinburgh, Festival Theatre            www.eft.co.uk

23^rd Feb            Nottingham, Playhouse            www.nottinghamplayhouse.co.uk

26-28^th Feb            Newcastle, Theatre Royal            www.theatreroyal.co.uk

3-4^th Mar            Milton Keynes Theatre            www.miltonkeynestheatre.com

6-7^th Mar            Salford, The Lowry                   www.thelowry.com

10-11^th Mar            Woking, New Victoria            www.theambassadors.com/newvictoria

13-14^th Mar            Wycombe, Swan                      www.wycombeswan.co.uk