UK Theatre Network

European Premier of 'Man in the Middle'

By Ron Elisha

Directed by Lucy Skilbeck

Theatre503

Viewed on Friday 13th January 2012

Cast

 

-       Olivia Carruthers

-       Jonathan Coote

-       Andrew Leung

-       Amy Marston

-       Paul McEwan

-       Ben Onwukwe

-       Jonathan Tafler

-       Darren Weller

 

The public will have heard of Wikileaks in one form or another- The infamous Baghdad video, the manuals of the secretive religion, Scientology, or the leaked US cables- these are among some of the classified anonymous packets of information that are placed at the public's scrutiny.

 

Julian Assange, on the other hand, might bring up more than just being the founder of this site dedicated to transparency and truth. White-haired and explosive Assange, played terrifically by Darren Weller, is the 'middle' man, whose arrogant, 'passionate, verging on crazy' ambition leads the country to a state of international tension using just one powerful weapon. The Truth.

 

What Ron Elisha attempts is an ambitious retelling of the private, public and political events surrounding the man who defiantly defends the 'First Amendment', in the age of the Internet. We follow a cascade of moments, which develops Assange into a man estranged from his family, facing rape charges and extradition, and the sole target of a 150-man government task force intent on his every move. We follow the changes that turn Assange from the 'most dangerous man in the world' to nominee for the Nobel Peace Prize.

 

There are times where the reworking of the original version is questionable. We see Barack Obama and David Cameron greet under media gaze and lightbulb flashes, only to discuss in a petty manner Obama's leaked opinion of Cameron, where he called Cameron a 'lightweight'. A smile and a handshake hide Cameron's adament call for amends and, while humorous, the playground-bully portrayal of major political leaders throughout, jars against the care applied to Assange.

 

Nicely incorporated is the evidence that we are living in an information-age. The set is full of glossy and reflective, with AV screens, partitions and gadgets enhance the feeling of 'plastic' and modernity. Audio, Headlines and Media perceptions remind us that we are exposed to constant information at all times. Mark Zucckerberg, energetically performed by Andrew Leung, becomes a tool for exploitation as Facebook is recognised as the gateway to reaching the Digital Generation. A Laptop, for all it represents, is deemed more important than Assange's life.

 

Assange maintains that Truth is best for its own sake and the subsequent fear of exposure will prevent immorality. Is the impact of Truth so black and white? It is not until the second half, that Assange's focused demeanour begins to show some wear and turmoil. Events do not go to plan and, in the game of gaining truth in a time of corruption, privacy and fair rules are thrown out of the window by all parties.

 

A great cast effortlessly handle multiple roles in this high-impact play about the nature of Man, Truth and Power.

                    

Theatre 503

503 Battersea Park Road  

London SW11 3BW
020 7978 7040

10th January- 4th February 7.45pm (Sundays at 5pm)

Tickets £14 (£9 Concession)

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

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

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)  

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.

 

How do you get yourself in the mood for Christmas? Wrapping the presents? Work’s Christmas Night Out? Finishing the shopping? Taking the kids to see Santa? Well for me it is going to see a Pantomime (I usually see at least 10 each year!).

 

At Glasgow’s King’s Theatre it is a start studded panto indeed for Sleeping Beauty. I’d Do Anything Finalist Keith Jack as Prince Joseph of Jordan Hill, River City’s Lorna Anderson as Princess Beauty, Altered Images songstress Clare Grogan as evil fairy Carabosse and Rab C Nesbitt’s Jamesie Cotter, Tony Roper as her Henchman Hector and topping the bill Karen Dunbar. And Ms Dunbar proves why she is top of the bill for this pantomime, with a first half that was nearly a full cabaret show. Her energy and vocal talents shone in her rendition of Step Back In Time and her comic timing was evident throughout the show, but no better example than when dealing with shout outs from the audience – her quick wit making her a gem for panto. Her comedy “romance” with Tony Roper was a good pairing, allowing two comics lots of time to play and the clever reworking of West Side Story’s Maria is a comic performance not to be missed.

 

A revelation in this show was Lorna Anderson – her presence on the stage was excellent and she certainly matched (and on many occasion even topped) Mr Jack’s singing voice in their powerful duets. I would have liked to see her with a more “princess-y” dress for her “birthday party” but that is a minor issue in what is mostly a well costumed show. Top marks for this show must go to Musical Director/Arranger, Pamela Dunsmuir (or as the kids in the audience now know her, Auntie Pam), as the songs were well paced and sounded great, and her small live band were extremely tight on the night too. I am usually a fan of Eric Potts pantomime scripts, but did feel a slight lack of the usual “sparkle” or “magic” that the Kings Theatre usually produces, however as the cast get used to the show and continue to add their own topical material (there were already references to the hurricane and it was only just happening outside at that moment!) I’m sure this will return.

 

Rounding off the comics in the cast was Arron Usher as Jimmy Jingles the Jester. Although his first Kings Pantomime, his pedigree of many years working on the East Coast pantomimes certainly shines through. Although given the thin end of the wedge with the comedy dialogue (the big lines seem to have gone to the TV comics) his physical humour and interplay with the cast and audience more than make up for it. It is also pleasing to see the roles of the King and Queen delivered with some gusto – Kathryn Howden as Queen Fiona was a joy and her infectious laughter had me giggling whenever she spoke.

 

With many other highlights in the show including a Dragon, a clever version of “Happy Birthday” by Ms Grogan (who takes great relish in her evil performance in her very first pantomime – I’m sure she’ll be back!), a great chorus who dance exceptionally well, lavish walkdown costumes and more songs than you can shake a stick at this pantomime is a jam packed evening of entertainment. With the weather not getting any better outside, get a warm rosy glow from a great family show, that even the adults will enjoy.

 

Listings

Fri 2 Dec – Sun 8 Jan (please call the box office for full details)

Signed Performances: Wed 14 Dec 1pm & Wed 21 Dec 7pm

Audio Described Performances: Wed 14 Dec 1pm & Wed 21 Dec 7pm

Captioned Performances: Thu 22 Dec & Wed 28 Dec 2pm 

 

Ticket prices: £7.20 - £24.75

Box Office: 0844 871 7648 (bkg fee)

Schools and group bookings: 0844 871 7602

www.atgtickets.com/glasgow  (bkg fee)

Cinderella

Darlington Civic Theatre

It isn’t often that the titular character in Cinderella – or any other pantomime, for that matter - is one of the performers who stands out the most. Usually, the role of principal girl (Snow White, Sleeping Beauty, Goldilocks) requires the actress ‘to do no more than look beautiful and sing well’, as a well-respected theatre critic and pantomime aficionado succinctly puts it. Indeed, principal girl may often be one of the most limiting and thankless roles in pantomime. However, it seems that Emma Stephens may have broken the traditional mould: her Cinderella is young, pretty and innocent – as she should be – but Miss Stephens skilfully ensures that she is also the central character. After all, the show is named after her and the plot revolves around her – why shouldn’t she occupy centre stage. Graciously and skilfully, Miss Stephens accomplishes this feat in a way in which she does not pull focus or upstage her fellow performers, nor indeed the headliners!

In fact, in this production, the stage time is shared out pretty evenly with no single personality dominating the proceedings. The cast, comprising Ray Quinn (X Factor, Dancing on Ice) as Prince Charming, Deena Payne (Emmerdale) as the Fairy Godmother, and Jimmy Cricket as Baron Hardup, all have an opportunity to shine as individuals, as well as in the ensemble scenes. For the most part, it is a strong, cohesive cast with each of the performers suiting their characters well and bringing something different to the proceedings. Ray Quinn does nothing to conceal his Liverpudlian accent, instead choosing to emphasise it and play the Prince as cheeky rather than charming, thus maximising upon the comic potential. Deena Payne’s Fairy Godmother is feistier than one might expect and the role, which is built up considerably to reflect her billing, has her performing a musical number of her own and a couple of duets with Cinders. And Jimmy Cricket is . . . well . . . just Jimmy Cricket – much to the delight of the audience.

Adam C. Booth, as Buttons, strikes up a great rapport with the kids and capably demonstrates that he possesses the versatility required to do the role full justice, with his singing, dancing, acting and comedy all being first class. Brian Godfrey, as Trinny, displayed his vast and indisputable experience of playing the Dame/Ugly with great aplomb and, in doing so, totally overshadowed the less experienced Darren Southworth’s portrayal of Susannah, though quite unintentionally, I’m sure. The only piece of casting which had me absolutely puzzled was that of ventriloquist Dawson Chance, and his puppet Willy the turtle, as the Broker’s Men. It should be clearly understood that I make no criticism of Mr Chance, nor Willy, when I say that the roles were completely inconsequential and totally superfluous, in that they did nothing to assist the narrative progression. On the plus side, though, the kids loved them both.

Overall, this production of Cinderella is a good one. Michael Vivian’s script provides a faithful re-telling of the classic fairy tale; it is beautifully designed and costumed; there is a nice balance of pop hits and original songs, and the choreography is tight and slick. Qdos may not bestow as big a budget on the Darlington production as they do on the panto in neighbouring Newcastle – for instance we do not have any 3-D special effects, nor does an animatronic flying Pegasus swoop over the audience to take Cinders to the ball – yet that is not to the detriment of the show. The pair of Shetland ponies, used to draw the pumpkin coach, delighted both young and old alike and served as an apt reminder that, in this particular panto, it isn’t just the Prince who is charming.

Steve Burbridge.

Cinderella runs until 15th January 2012.