Humpty Dumpty

Slaidburn Village Hall once again burst into life as Slaidburn Players presented their annual pantomime, this year bringing the topsy‑turvy tale of Humpty Dumpty to the stage with colour, chaos, and irresistible charm.

For thousands of years, a great Egg has stood proudly in Nursery Rhyme Land, its magic bringing peace, prosperity, and harmony to all who live there. But trouble arrives when the evil Baron Bluebeard and his lumbering sidekick Frank N Stein plot to break the Egg and kidnap the Princess. Their wicked scheme throws Nursery Rhyme Land into disarray. As if that were not enough, the icy and ambitious Freezella the Ice Spirit appears with her own plan: to freeze the entire land solid and rule over it forever. With danger closing in from all sides, the heroes of Nursery Rhyme Land must band together, outwit the villains, rescue the princess, and find a way to restore the Egg’s magic before their beloved world is lost to darkness and ice.

Under the inclusive direction and production of Aldwyth Pearson, the show embraced performers of all ages, weaving them naturally into the story. The youth chorus, always a highlight of Slaidburn pantomimes, were given plenty of chances to shine, appearing in lively musical numbers and adding movement and mischief throughout. The older youth took on more demanding choreography, especially in Freezella’s scenes, performing with confidence and real presence. Choreographer Issy Bristow ensured every young performer felt part of the spectacle. A standout moment came with The Sun Has Got His Hat On, where the smallest cast members scampered and leapfrogged their way through the number with joyful energy.

Musical Director Janet Holland anchored the production with her lively, responsive accompaniment, guiding performers of all ages with assurance. Her attention to harmonies added a richness to several numbers, lifting the musical moments effectively. Song were instantly recognisable, accessible to all audience members tastes.

The staging offered its own visual treats, including the enormous blow‑up egg dominating stage left. Cheerfully absurd and impossible to ignore, it became a brilliant focal point and paid off handsomely later in the show when used to great comic effect. Behind the scenes, Andrew Harrison delivered clear, well‑balanced sound, ensuring every performer was heard and every cue landed. Working alongside him, Neville Harrison lit the stage with imagination, bold colour washes, crisp spot work, and thoughtful transitions that elevated each scene.

At the heart of the backstage operation was Stage Manager Val Sharp, whose calm authority kept everything running smoothly. Supported by a hardworking backstage team, Val ensured seamless transitions and well‑timed entrances throughout. The stage looked wonderful thanks to a dedicated group of set builders and painters, who created bright, beautifully realised backcloths. A particularly striking cloth depicted a village lane winding through a cheerful townscape. The abundance of props, each well‑chosen and well‑made, added texture and playfulness to the action. Costume designer Issy Bristow filled the stage with a parade of nursery‑rhyme favourites: the Cat and the Fiddle, Little Boy Blue, Incy Wincy Spider, Mary Mary Quite Contrary, and many more. The colours popped under the lights, transforming the stage into a living storybook.

Across the board, the cast radiated joy, bright, smiling faces filling the stage with confidence and camaraderie. The humour landed consistently, each performer playing to their strengths with enthusiasm and heart. Freddie Fullalove was irresistible as Simple Simon, bounding around the stage with cheeky charm, bundles of energy, and beautifully judged comic timing. His rapport with the audience made him one of the evening’s most endearing characters, and his interactions with Bo‑Peep were a constant source of laughter.

Andrea O’Rouke brought delightful energy to Bo‑Peep, forever chasing Simon with exasperated charm. Her enormous skirt became a comic prop, swishing and sweeping with exaggerated flair, and her timing in the bathing‑suit scene with Simple Simon had the audience roaring. She balanced sweetness with spirited frustration, creating a Bo‑Peep who was both lovable and very funny.

Hetty Donnelly shone as Tommy Tucker, the principal boy, delivering a confident, warm performance. She carried herself with poise, engaging the audience with clear storytelling and a natural charm. Her rendition of It Must Be Love was vocally assured and full of heart.

Linda Blakeman was a joy as the doddering Lord Chamberlain, her muddled announcements and befuddled shuffling providing a steady stream of laughs. She struck just the right balance between pompous officialdom and endearing confusion.

Brant Middleton gave a wonderfully warm and humorous performance as Old King Cole, shuffling between regal authority and gentle befuddlement with a twinkle in his eye. His duet I Remember It Well with Queen Ribena was a comic highlight, full of knowing glances, deliberate hesitations, and perfectly judged timing.

John Sharp stormed the stage as Queen Ribena, the dame, with bravado, outrageous costumes, and wickedly funny ad‑libs. He relished every moment, firing off cheeky lines with the confidence of someone who knows exactly how to work a Slaidburn audience. His jodhpurs and riding jacket ensemble was a particular triumph, earning laughter before he even spoke.

Helena Beattie brought spark and sass to Princess Crystal, giving the role a modern edge while keeping all the charm expected of a pantomime princess. She handled both dialogue and musical moments with poise, and her interactions with the rest of the cast added a fresh, spirited energy.

Charlie Stephenson revelled in the role of Baron Bluebeard, complete with Transylvanian accent, blue brows, cane, top hat, and sweeping cloak. He was booed with great enthusiasm and loved every second, leaning into the villainy with gleeful exaggeration and excellent comic timing.

Alex West was hilariously deadpan as Frank N Stein, grunting, lumbering, and stealing scenes with his stiff walk and green‑painted face. His bolts, makeup, and mechanical movements created an instantly recognisable figure, and his single spoken line, delivered just as Bluebeard was foiled, earned a huge round of applause.

Heather Harrison sparkled as Ovaltina the Egg Fairy, appearing in a cloud of bubbles that made the children gasp. Her bejewelled pink wig, shimmering gown, and warm smile created a magical presence, and her gentle humour added charm to every scene she graced.

Clara the Cow, played by Christine Scott and Jackie Howard, was a charming comic treat, met with delighted laughter. Their teamwork gave Clara a lovely sense of character, turning a small role into a memorable moment.

Issy Bristow brought the house down as Humpty Dumpty, with her vacant stare, squeaky voice, wild premonition gyrations, and unforgettable moment popping her head out of the broken egg. It was a fearless, inventive performance that had the audience laughing every time she appeared.

Freezella the Ice Spirit played by Kirsty Robinson, delivered delicious villainy, confidently plotting world domination with icy poise and strong stage presence. Her crisp delivery and commanding energy gave the story a dramatic edge, and her scenes with the older youth chorus were particularly striking.

Mrs Cordial, Queen Ribena’s formidable mother and owner of a run‑down holiday park, was played with sharp humour, bossy, demanding, and very funny as she put everyone to work. Her dry delivery and no‑nonsense attitude added a different flavour of comedy, contrasting beautifully with the broader pantomime chaos around her.

What shone through above all was the sense of everyone working together. From the tiniest chorus member to the most seasoned performer, from the backstage crew to the technical team, from the set painters to the costume makers, this was a production built on spirit, shared laughter, and a genuine love of performance. The stage looked vibrant, the music lifted every scene, and the cast delivered character after character with enthusiasm, humour, and heart. The audience were swept along in a riot of silliness, song, and storybook magic, and the hall rang with laughter. I would like to thank Slaidburn Players for their kind invitation and warm hospitality and look forward to many more productions from them in the future.

 

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