Disenchanted

Well, this show should have happened last April but, of course, it didn’t, which means my last visit to a Kidz R Us production was on 22nd December 2019.  How good it felt to be back in the intimate setting that is the St. Ives Theatre after such a long time and to eagerly await a live performance 15 months since the last I’d seen anywhere in Cornwall.  Disenchanted will shortly be celebrating its 10th anniversary, having started its life as an off-Broadway production that received rave reviews and launched it onto the wider theatre scene.  Telling the post-happy ending of its ten princesses’ stories the show offers a platform for a cast of strong female singers to indulge in some wickedly acerbic observations of the way they are portrayed in modern media - particularly Walt Disney’s interpretations of their traditional tales.  This musical is more than a step away from the usual fare of Kidz R Us, with songs, which although witty, clever and highly entertaining, are somewhat ‘adult’ in their content!  It was appropriate, therefore, that the roles were cast from the older generation of Kidz.  Three princesses are the constant hosts for the evening and we saw another three young women sharing the portrayal of the remaining seven characters; a decision that must have made it easier to bring this production to fruition given the restrictions on numbers permitted to meet for rehearsals.  

The open stage was a glitter fest of silver and the screens on right and left, and on the top deck, were preset with the drapes of plush red theatre tabs awaiting the cue, “Curtain up!”   We heard a voice-over announcing the start, and a swirl of mood-enhancing smoke drifted across the stage as we were introduced to the three hosting princesses each reading her own fairytale book and then, at the appropriate point, the screens changed to depict the magical kiss from ‘The Prince’ that changed her life for ever!  It wasn’t more than a moment or two before we learned that these were not going to be wishy-washy adjuncts to tales about the gallantry and bravery of men, but feisty, strong and self-assured women with thoughts and aspirations of their own.  Their opening dialogue and the first song, One More Happ’ly Ever After, revealed  their dissatisfaction with the roles foist on them by the cliches of modern films and we quickly realised that the lyrics of this musical were going to be where our attention was needed.  Very little straight dialogue punctuated the series of songs in this libretto written by a man with remarkable imagination and a quite insightful take on the “Princess Complex”.   This focus on the words of the songs themselves meant that we had to hear them clearly to follow the storyline contained therein and to appreciate the caustic wit and humour that each shared with us.  Apart from this there was no plot to hold it all together.

The small ensemble providing the backing music consisted of musical director on keyboards, with just the addition of bass and drums, and was in suitable balance with the voices on stage.  Not being a big company show there was no need for a larger orchestra and the placement of this trio within sight of the audience and permitting their own view of the stage created an intimacy between them and the performers that allowed for sensitive accompaniment.  I know how much work goes into the coaching of not only pitch and pace but also of enunciation and vocal clarity and in a show like this, that is not as familiar as the classics of which a large number of the audience are likely to know the words, hearing the lyrics takes on a greater significance.  You will not be surprised when I say that now and then I didn’t catch all the lines clearly - as ever, diction, always a work in progress, needs constant positive reinforcement.  I did find that occasionally the excitement of young female voices tended to make the pitch rise to a rather piercing level and I was grateful for the quieter and lower registers when they came.  Nevertheless, the young women on stage all delivered their numbers with a passion and a tongue-in-cheek air of comedy that definitely got across the message in a knowing way and their harmonising was tuneful when they sang together.

The stage needed no sets as such and minor changes to indicate an environment were made with changing images on the screens, woodland trees, cherry blossom or swimming cartoon fish, and, rather surprisingly the upper stage was hardly used in comparison with more spectacular shows I’ve seen.  This minimal design approach emphasised the importance of the characters and the feelings of frustration they shared with us.  There were two trucks, wheeled on by the cast members themselves - the simple ‘throne’ on which Belle made her entrance that was used more than once when Sleeping Beauty usurped it for a quick nap, and the more elaborate underwater grotto that delivered to the stage the non-mobile, fish-tailed Little Mermaid.  Prettily painted they were sturdily built to stand up to the repetitions of movement demanded by a season of performances.

The lighting throughout supported the mood and only at one point, with two princesses using the upper level, did I notice a lack of sufficient light on their faces.  So much of the fun of the show relied on our being able to read the facial expressions of these young women and luckily this was only a brief moment quickly corrected as the lights came up on them.  I was seated in the stalls too low to note whether gobos were used and I mention it only because I have seen them used with good effect in the past to break up the vast uncluttered floor area.

Very few props were required and those there were tended to be small hand props.  These were all handled in a proficient manner indicating that the backstage crew had gathered them all in time to allow plenty of rehearsal with them - the fairytale books, a hand mirror, perfume atomisers, caption placards, beer bottle and the clam hand puppets, fake leaves, large pink balloons, broom, chocolate bar, bird, triangle and duck call - and any that I’ve missed in acknowledgement of the dedication and attention to detail of a hard working props team.

The costumes of all Kidz R Us productions are always outstanding.  You have such a large wardrobe from which to draw as well as an army of dedicated helpers, although on this occasion the programme lists only two names.  It was important that our princesses were not copies of Walt Disney’s creations and yet there is an expectation from the audience that we want to recognise our heroines.  This was achieved with subtle likenesses to the images in our minds.  Snow White’s colour scheme of red, blue, yellow and black with the slashed puff sleeves was instantly identifiable, as were the ethnic outfits of Pocohontas and Mulan, and an unmistakeable fish tail for the Little Mermaid caused little confusion.  Belle in her simple blue pinafore echoed Disney and Cinderella’s beautiful ball gown showed a hint of defiance in its hitched front comically displaying her bloomers.  The flying carpet creation for Badroulbadour, which must have been especially made, was ingenious.  The quick change from the Frog Princess’s gown to a chorus number of six orange sequinned dresses was an effective moment of contrast in an otherwise relatively unchanging costume presentation.  Turning Rapunzel into a “Mel Brooksian Wagnerian” was surely the most conspicuous refusal to acknowledge Disney’s dainty princess!  I was full of admiration for this performer so willing to send up the Teutonic link by turning herself a full-blown and rather unattractive Viking!   All the costumes allowed freedom of movement and there were no obvious wardrobe malfunctions except for a brief hitch of her asymmetric bodice by Pocohontas as it threatened to slip.

There were several wigs on display; all well fitted and secured despite the changes needed by those playing three roles.  Rapunzel’s fabulous 12 feet of plait would have stuffed several mattresses and must have weighed a ton!  The backstage helpers were working well to change their costumes and wigs promptly so that no entrances were delayed.  The character make up was confined to exaggerating the eyes to make Badroulbadour and Mulan look a little more Eastern and the hilarious monobrows of Rapunzel and her two sidekicks.  

The style of the show was very much variety/vaudeville with no scenery or scene drops, so keeping the presentation flowing was a director’s aim as well as encouraging a full development of each of the characters without making them recalcitrant or belligerent in the same manner.  That we saw ten different rebellious personalities is a credit to both direction and performance with each in her own way offering rib-tickling humour and, in Pocohontas’s case particularly, more than a little pathos.  As a real-life historical figure with a genuine story to tell hers seems the most exploitated.  This was well portrayed with great empathy in contrast to the more ludicrous interpretations of the storybook characters.  Entrances and exits had to be slick and timely so as not to miss a gag and this was a well rehearsed and disciplined example of good practice with the cast’s concentration evident.  Each member very clearly demonstrated, by body language and facial expression, her unique temperament and individual opinion of her situation.  The lyrics are so full of depth and reveal in masterful comedy the idiosyncrasies of these typecast personalities.  Every song was a joy - which is why we have to hear clearly to appreciate every nuance of meaning.   Of the six in your cast it is notable that no one member stood out, with them generously sharing the limelight, whether in their confident solo renditions or supporting each other while on stage together.  Choreography was somewhat limited, there being no full-on company routines but the princesses were given moves as they sang and movement around the stage with poor Belle managing so well to shuffle around despite being strapped to her throne!  Finally came closest to a set dance as the other princesses joined the Princess Who Kissed The Frog, and we were hugely entertained by the lively presentation of a wonderfully comedic All I Wanna Do Is Eat, which must surely have evoked sympathy from every woman in the audience who has ever dieted!  The inclusion of audience participation as a feature of the riotously funny Not V’One Red Cent underlined the show’s ethos of a complete send up of pantomime and the modern presentations of these individuals as little more than bimbos.  Full credit to a backstage team and dedicated cast who brought this to the stage after more than a year’s delay and against all the odds under which theatre has been labouring for so long.  It is not a well known show and with its adult theme is unlikely to draw in the family audiences but your hard work and commitment really does deserve a wide reception. The production is every bit up to the standard I have come to expect from Kidz R Us and I do hope that you get good houses through the summer run.  Good luck.

© NODA CIO. All rights reserved.