Dick Whittington

Horbury Pageant Players proved that you don’t need a December date to fill a hall with laughter, boos and hearty singalongs. Their production of Dick Whittington by Alan P Frayn showed that audiences are still very much hungry for a traditional panto – even outside the usual festive season – and it certainly didn’t disappoint. There was plenty of slapstick and silliness for the children, but just as many cheeky asides and knowing looks for the adults, none of which went unnoticed by an appreciative crowd.

At the heart of the show was Emma Proctor in the title role of Dick Whittington. A confident performer with excellent stage presence, Proctor carried the story with assurance from Dick’s hopeful arrival in London through to triumph over the villainous rats. She formed a warm and believable partnership with Charlotte Mountain’s Alice, who remained bright, happy and smiling throughout. Mountain’s natural warmth made her an engaging Principal Girl and a lovely match for Proctor, the pair anchoring the romantic thread of the story with charm.

No panto would be complete without a Dame, and Daniel Allatt’s Dolly Dumpling delivered in true traditional style. Larger-than-life, flamboyant and full of fun, Allatt embraced every opportunity for audience interaction. When a wig made an unscripted early exit mid-scene, it was handled with professionalism and humour – very much in the spirit of live theatre and all the better for it. Alongside Dolly, Jessica Allatt’s Idle Jack brought boundless energy, confidently working the audience and keeping the pace lively in every scene.

Comic villainy and nautical nonsense came courtesy of Harvey Nicholson’s Captain Cuttlefish and Dan Nicholson’s Scupper, whose chemistry was evident from their first entrance. Clearly well rehearsed, the pair delivered some of the funniest comic repertoire of the evening, bouncing off one another with excellent timing and a natural ease (not surprising since they are father and son) that kept the laughs rolling.

Providing feline finesse was Penny Parkin as Tom, whose strong physical acting and expressive facial work ensured that Dick’s trusty companion was always at the centre of the action. Parkin’s movement and reactions added an extra layer of humour, particularly in scenes involving Queen Rat and her army.

Speaking of villainy, Sue Pickering’s Queen Rat was a traditional baddie, full of menace. Pickering clearly relished leading her rodent army, and while her performance had great drive, there is perhaps scope to push the nastiness just a little further to heighten the contrast with the goodies. That contrast was sweetly embodied by Chloe Biro-Pickering’s Fairy Bowbells, who served as narrator and guiding force throughout. Gentle, poised and visually the perfect counterpoint to Queen Rat, she steered the story along with clarity and charm.

In supporting roles, Joanna Goldson’s Alderman stood out, particularly in the memorable “shoulder arms” scene, which was played with excellent comic control. Carla Hewitt-Forey’s Sultana, a smaller but important role, was confidently handled – especially impressive as a first principal part.

Behind the principals was an enthusiastic ensemble of villagers and Queen Rat’s army of rats, who threw themselves wholeheartedly into the choreography and crowd scenes. These young performers are undoubtedly the future principals of the society; one can easily imagine the next Principal Girl or Principal Boy emerging from this talented pool. Continued investment in and utilisation of this group will be vital in keeping amateur and community theatre thriving and in nurturing the next generation of performers.

Under the guidance of Director/Producer/Musical Director Zoe Parkin, supported by Assistant Director and Choreographer Emily Ritchie, the production moved at a steady pace and made effective use of projected scenery – an increasingly prevalent feature in amateur theatre that worked well in this setting, allowing swift transitions and colourful backdrops.

Musically, the show was lively and upbeat, though to continue improving, some consideration might be given to selecting keys that best suit the vocal ranges of the principals. At times, certain numbers sat a little high, which led to occasional pitch challenges. Thoughtful tailoring of song choices would allow the cast’s voices to shine even more confidently.

In the spirit of constructive reflection, there may also be opportunities to consider alternative casting choices in future productions. When casting a female performer in a traditionally male role (outside of the established conventions of Dame and Principal Boy), ensuring pronouns are adjusted accordingly would help maintain clarity and consistency within the storytelling.

Overall, however, this was a joyful and warmly received production. Horbury Pageant Players demonstrated once again that the appetite for traditional pantomime remains strong – whatever the month on the calendar. Congratulations to all involved for delivering an evening full of laughter, community spirit and good old-fashioned panto fun.

© NODA CIO. All rights reserved.