London pantomime round-up

“Panto has returned as big as before”

Long ReviewsDec 13, 2021Various, London

Cast of The Queen of Hearts at Greenwich Theatre

Paul Vale

Paul has been writing for The Stage since 1998 as a critic and feature writer. He is also part of The Stage's Edinburgh Fringe review team.

After a halted season in 2020, the family pantomime has returned to form in London this year, as big – and occasionally even better – than it was before

Last year the pantomime season was halted early throughout the UK as the country returned to lockdown. The economic and moral devastation was considerable. Yet the theatre industry is a resilient beast and, by and large, the family pantomime has returned to form this year, as big – and occasionally even better – than it was before.

In 2019, the Off West End Theatre Awards finally recognised pantomime as a category, and the inaugural winner was Sleeping Beauty from the team at Greenwich. Andrew Pollard, the writer, director and dame, has been gradually building a solid audience for the Greenwich pantomime for more than 15 years, often incorporating stories that for some reason have fallen into abeyance. The Queen of Hearts (Greenwich Theatre, November 19 to January 2, 2022, ★★★) is one such title, having originated in the 1800s, although there’s nothing stale about this production.

With the help of musical director Steve Markwick, the score has an upbeat rock sensibility and features anthems such as a defiant Don’t Stop Me Now and, in this case, Groove Is in the Tart. The story itself is pretty thin, pitching Anthony Spargo’s narcissistic King of Clubs against Pollard’s titular Queen in a bid for power. The relatively small cast generates bags of enthusiasm from the modest material and Cleo Pettitt’s striking design is simple yet effective, delivering a nice collapse for the closing of the first act.

Pollard’s ebullient dame looks and sounds like a cross between namesake Su Pollard and Grayson Perry, but he is in full command of the action and the audience. The juveniles seem less confident, although there’s promise in Gibsa Bah’s affectionately silly Knave of Hearts.

Continues...

Beauty and the Beast at Towngate, Basildon. Photo: Carmel Jane

Another popular title this year is Beauty and the Beast, which probably owes a debt of gratitude to the animated Disney movie, a new stage version of which is currently touring the UK. Over in Basildon, producer and director Simon Fielding has also been building a dedicated fan base over the past 14 years. The pantomime at the Towngate focuses heavily on choreography and community, incorporating teams of young actors and dancers in occasionally breathtaking routines.

Despite the restrictions imposed on rehearsals, Fielding has triumphed once again with a production written by Michael Vivian that dovetails the familiar story into a pantomime package. Forget the twee teapot and the brutish Gaston. Here, the Prince is groomed from childhood by an ambitious, overbearing Governess with an eye on the crown.

Aisling Duffy’s choreography, especially during the transformation scene, pulses with drama and Sophie Ladds’ villainous Villeneuve is at turns both terrifying and hilarious. Beauty and the Beast (Towngate, Basildon, November 24 to January 3, 2022, ★★★★★) is a veritable emotional rollercoaster, held in check by Fielding’s typical comic style as the hapless Villy and his knack of tapping into current youth cultural references. It must be a logistical nightmare to maintain two youth teams within the company, but Fielding’s productions have always been defined by putting the kids front-and-centre, and thankfully this year is no different.

Continues...

Anton Du Beke and the cast of Cinderella at Richmond Theatre. Photo: Craig Sugden

Over in Richmond, Cinderella (Richmond Theatre, December 3 to January 2, 2022, ★★) is produced by Crossroads Pantomimes, which is mounting 29 pantomimes across the UK this season following its purchase of Qdos Pantomimes earlier in the year.

Considered to be one of the most magical pantomimes of the canon, this production suffers from a casting problem. Anton Du Beke is a friendly face, familiar to millions from his role as dancer and now judge on Strictly Come Dancing. However, while elegantly stepping into the role of Buttons, he lacks the comedic spontaneity and timing to lead the show. Another problem is Alan McHugh’s script, which suffers heavily without the input of a tried and trusted comedian.

Rosemary Ashe fares much better as a convivial Fairy Godmother, possessing a belter of a voice honed by many leading roles in the West End. Oonagh Cox makes an enchanting leading lady and her romance with Edward Chitticks’ earnest Prince Charming quite rightly ties the show together. Adequate grotesquery, and most of the big laughs, are provided by Bobby Delaney and Darren Bennett as two man-hungry step sisters.

This is a production that sadly lacks magic, from Stewart Nicholls’ pedestrian direction to tired-looking sets and special effects. Understandably Du Beke shines when dancing at the ball, but that should be an added bonus rather than the highlight.

Continues...

Shane Richie in Dick Whittington at New Wimbledon, London. Photo: Craig Sugden

Things are far more energetic over at the New Wimbledon, where Shane Richie gives a masterclass in how to lead a pantomime. There may have been a few opening-night technical hiccups with Dick Whittington (New Wimbledon, December 4 to January 2, 2022, ★★★★), but Richie is a warm, witty, quick-thinking comedy actor who thrives off banter with the audience.

This energy seems to pass on through to an animated ensemble, that interprets Aaron Renfree’s frenetic choreography with gusto, to musical director Michael Bradley’s small but perfectly formed band. Even Briana Craig’s agile, smiling Kitty Cat seems livelier than ever – although, for some reason, another script by McHugh makes her the property of the Fitzwarrens rather than Dick’s trusty sidekick.

Shona White and Rachel Izen are evenly matched as the Spirit of Bow Bells and Queen Rat respectively and in this production it’s Hiba Elchikhe’s forthright Alice who fights the final battle. Again produced by Crossroads Pantomimes, Dick Whittington is very much a panto-by-numbers, filled with familiar routines and gags.

However, Richie takes the material and makes it his own, whether he’s leading the company in a chorus of I’m a Believer or flying solo on a magical motorbike courtesy of the visual special effects team the Twins FX.