Mother Goose

South Manchester AOS’s production of Mother Goose was an absolute delight from beginning to end, a pantomime that managed to capture the essence of tradition while injecting fresh energy and creativity into every moment. From the instant the lights began, the audience was swept into a world of colour, humour, and spectacle, and what struck me most was the consistency of energy throughout the entire performance. There was never a lull, never a moment where the pace faltered, and that is a testament not only to the performers but also to the creative team behind the scenes. The script, written by Kevin Proctor, was brilliantly crafted, weaving together the familiar beats of the pantomime story with clever dialogue, witty exchanges, and moments of genuine warmth. It was a script that understood its audience, balancing slapstick humour with sharp one-liners, and ensuring that both children and adults were entertained in equal measure.

The technical elements of the production deserve special mention. Lighting, operations, and set design, overseen by Ethan Osborn and Dave Bamford, brought something distinctive to the stage. The use of overhead smoke machines was particularly effective, creating a sense of surprise and magic during the entrances of Fairy Quackers, played by Ryan Brown, and Terrabelle, played by Christina Pearson. These flourishes elevated the spectacle, reminding us that pantomime is as much about visual wonder as it is about comedy. The rotating staging of the house was another inspired choice. By eliminating the need for blackouts, transitions between scenes became seamless, allowing the story to flow without interruption. It was a clever device that kept the audience immersed in the journey, never breaking the spell of the performance.

Opening the show, in true pantomime tradition, we were introduced to Fairy Quackers and Terrabelle. These characters often set the tone for the entire production, and consistency is key, as they are frequently seen throughout. Ryan Brown and Christina Pearson rose to the challenge magnificently. Their characterisation was nothing short of brilliant, with quick wit, humour, and a dynamic energy that carried through every scene. What I particularly appreciated was their use of proxemics. Rather than falling into the predictable staging of one character at stage left and the other at stage right, they moved with intention, creating a sense of spontaneity and freshness. Their interactions felt alive, and the chemistry between them was palpable.

Kevin Proctor, doubling as both writer and performer, brought Judy Goose to life with great wit, command, and character. His performance was a masterclass in audience interaction, knowing exactly when to break the fourth wall and how to draw the crowd into the story. His changes of tone and pace within the dialogue were particularly effective, shifting from comedic exaggeration to moments of sincerity, and in doing so, he deepened the audience’s engagement. Judy Goose became more than just a comic figure; she was the heart of the production, guiding us through the narrative with charm and authority.

Tom Guest as Gilbert Goose delivered a performance full of gusto. His vocals were strong and confident, filling the theatre with energy. Timing is everything in pantomime, and Tom’s delivery of dialogue and punchlines was impeccable. He had a boundless energy that never waned, and his presence on stage was magnetic. Freia Reidel-Fisher as Priscilla was equally impressive. Her vocals were stunning, controlled yet expressive, and they sat beautifully alongside her characterisation. She brought wit and humour to the role, but also a commanding presence that ensured she stood out in every scene.

Kallum Edwards, in the role of Silly Billy Goose, quickly established himself as a favourite with the audience. His interactions were sharp, his dry humour perfectly judged, and his pacing carefully measured. Silly Billy is a character that relies heavily on timing and rapport, and Kallum delivered both with confidence. He knew how to engage the audience without overplaying the role, striking the right balance between silliness and charm.

Rosie Plummer’s Mary Contrary was one of the most inventive and surprising elements of the production. Her disguised entrance at the beginning was a stroke of genius, with her deep voice and male persona sparking laughter and confusion in equal measure. The moments of obscurity, such as the hat and exaggerated facial expressions, only added to the humour. When her true character was revealed, the surprise was met with delight, and her vocals proved to be impressive, strong, controlled, and consistent. Rosie brought an element of unpredictability to the stage, and that sense of surprise is exactly what keeps pantomime fresh and exciting. Another commanding performance was from Deborah Lowe as Queen Ida, her command on stage set with strong characterisation brought a sense of authority and gravitas to the production. From her very first entrance, she established herself as a figure of power, her presence filling the stage with confidence and poise.

The choreography, led by Beth Abram, was another highlight. Choreography in pantomime can sometimes be overlooked, but here it was bold, fresh, and full of energy. Beth’s work brought sharp formations, creative changes of levels, and dynamic shifts in style that added interest and variety. The dance numbers were not only well-executed but also visually engaging, enhancing the overall spectacle of the production. The ensemble, clearly well-drilled, executed their entrances, exits, and musical numbers with precision. Their discipline and cohesion were evident, and they provided a strong backbone to the show, supporting the principal cast while adding depth to the stage picture.

What truly sets a pantomime apart, however, is the interaction between the cast and the audience. This production excelled in that regard. From the playful banter to the call-and-response moments, the audience was fully engaged, laughing, cheering, and responding throughout. You can always tell the quality of a pantomime by the energy that flows back from the audience to the stage, and in this case, the feedback loop was electric. The performers thrived on the audience’s reactions, and the audience, in turn, fed off the performers’ energy. It was a joyous cycle that sustained the production from beginning to end.

Overall, South Manchester AOS’s Mother Goose was a triumph. It combined technical innovation with strong performances, inventive choreography, and a deep understanding of pantomime tradition. It was a production that respected the conventions of the genre while also pushing boundaries, finding new ways to surprise and delight. The laughter that filled the theatre was genuine, the applause heartfelt, and the sense of community palpable. This was not just a show; it was an experience, one that reminded us of the power of theatre to bring people together in celebration.

Congratulations are due to the entire company. They have raised the bar for pantomime this season, delivering a production that was bursting with heart, humour, and energy. It is no easy feat to sustain such momentum across an entire performance, but South Manchester AOS achieved it with flair. Mother Goose was more than just entertainment; it was a testament to the creativity, dedication, and talent of everyone involved, thank you once again for your kind invitation and hospitality.

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