Puss in Boots

Thank you as always for the warm welcome. It was evident from the some of the front of house sporting Cornish National Tartan 
attire that the pantomime had a Cornish theme.

It was interesting to read that David Ivall had originally written the pantomime in 2015 for Dog Collar Productions and had 
expanded it for CDDG. The original story of Puss in Boots was penned in 1697 in French telling the tale of an astute cat who uses 
his skills to ensure his master has a wealthy life. It was wonderful to have a pantomime set in Cornwall with lots of Cornish place 
and individual names and of course the inclusion of the Song of the Western Men.

The hall was set up with an open stage with steps down to the hall floor edged with gold fabric dressed with a string of St P iran’s 
flags. Set stage right was a painted bush flat and a 3D tree stump. Stage left was another painted bush with a wooden bench. 
Your accompanist was situated stage left in front of the stage.  Lighting was set on a bar across the hall with additional lights 
either side of the hall. Speakers were set both stage left and right and both were well managed from the back of the hall.  The 
sound effects used added detail to the performance and the ‘dark ages’ light effect certainly wind Mrs Polparret up.

The curtain opened to a village scene with Cornish Coats of Arms with the 15 bezants on displayed on the side  legs this ensured 
we all knew where the story was set. The painted wipes pulled across to depict a road and sinister location added the story and 
the painted flats used to depict the palace with its  bright colours and castle with cracked walls created the correct atmosphere.
The props used to dress the sets were great the signpost, the large thrones in the palace and pillory, shield with skull and the 
swords in castle. All the personal props provided were well managed by members of your cast especially the Henchmen’s 
weapons.

All the costumes chosen for the various groups of people added to their character. They were carefully sourced with references 
to Cornish colours, well-fitting and created a period feel. The rabbits looked great and Puss’ red costume showed his importance.
Little Bo-Peep appeared to have just popped out of a nursery rhyme book, Boy Blue with his St Piran’s and bezants on his tunic 
blowing his long horn grew in importance and lastly the lawyer in traditional his Cornish kilt was resplendent. 

I enjoyed your chose of musical items some original, some well-known with amended words which aided the story and the 
traditional Trelawny which had the audience singing along. Your accomplished accompanist aided all your cast in the 
performance.

Mrs Polparret arrived on the stage to set the scene she spoke clearly interacting with those on stage and the audience, she did 
appear to lose track of her conversation at some points but maybe this was how her character was expected to be. Jenny and 
Molly looked the part and added their own thoughts to the conversations with clarity and feeling.

The actor depicting Lawyer Roscarrick certainly looked the part and delivered his lines with strong clear voice ensuring that all 
that were present knew the result of the will.

The three beneficiaries of the will were three brothers Piran, Petrock and Patsy (who of course should have been pasty), 
Trelawney. All very different characters the actor portraying Petrock the eldest showed his determination to get what he knew 
he should receive. He now owned the mill and would allow Patsy to stay because he could make use of his donkey and cart. He 
also showed his true character when he spoke to the Queen about Piran. Patsy was a more gently gullible brother who appeared 
under Petrock’s power but tried to ensure Piran was looked after. He created a believable dower persona, speaking slowly and 
questioning Petrock although he got the edge of his sharp tongue. Our hero Piran was the youngest son who was thrown out of 
his home with only a cat for company.  Your actor gave Piran a determined manner who had made his mind up and knew what 
he was going to do and a talking cat was not going to influence him. He was off to Truro to find the streets that were paved with 
gold. He found he had no chose but to comply with Puss’ ideas although his honesty shone through at the end. He created a 
believable relationship with the princess and sang tunefully. The young lady playing the cat did so well moving carefully around 
the stage and staying near to Piran. 

Roberta, Rowena and Rosie made lovely singing rabbits. It is quite daunting to have to perform in front of a full house but you’re
your young members took everything in their stride. They knew their words, movements although not quick enough for Puss and 
sang clearly.

The actor depicting Puss in Boots was excellent, his text was clearly projected, singing confident, his stance was powerful and he 
knew exactly how to get what he wanted for her master by using his persuasive skills on the ogre. Well played. 

We were then transported to the palace of King Pydar and Queen Lamorna. The experienced actor paying the King who looked 
regal in his robes, did so with aplomb. He knew his standing in the household and being under an evil curse which made him 
speak in rhyme played this brilliantly for laughs. Queen Lamorna resplendent in blue certainly ruled the roost, she moved with 
purpose, knew what she wanted and her upper crust strident voice was heard clearly above anyone else. Princess Guinevere 
appeared to have more of her mother’s than father’s genes and although listened to the suitors who had arrived at the palace
and plighted their troths rejected one as to young and one to old. The only one she had any connection with was found to be 
looking for a job. Your performer demonstrated an authentic understanding of the part, interacted well with the others of the 
cast and had chemistry with Piran. She moved confidently and sang well. Demelza portrayal was great , she looked the part and  
although she had her own views, she showed deference to her mistress.

Every medieval court needs a jester and yours was bright and bouncy and an excellent song writer. He looked the part in his 
yellow and red. spoke with energy, told some jokes and ‘A comedy tonight’ was great. He and Mrs Polparret complimented each 
other on stage.

Cuby the royal page may have been small in stature but was big in personality. He complied with all the tasks given to him and 
ended up in the pillory for his trouble.

Your Ogre arrived on the stage in a rage his plan of wedding the princess had been foiled so he had to find another way to get 
her hand. His experience led him to create a fully rounded character whose powerful presence filled the stage as did his speaking 
and singing voice. His servant Igor looked the part followed his masters’ instructions and knew his lines but was a little quiet, just 
remember to look towards the audience when saying your words. 

The large group of Henchmen led by Freda stomped onto the stage with their long dresses, labels, messy hair, missing teeth, 
make up and weapons. Their motivational ‘We are the Henchmen’ speech was ringing in our ears every time they arrived. They 
were brilliant, not the brightest, but brilliant. All had their own expressions, interacted with each other and the audience. Freda 
led them like a group of modern-day trade unionists. They wanted to be paid, couldn’t understand why they were Henchmen 
not Henchwomen. But at every turn the Ogre outsmarted them, his explanation about their lack of wages was great as was their 
reaction to owing him one shilling each.

Every person on your stage had an important part to play in the pantomime and the Royal Guards, Flag Bearer, First Ruffian and 
Bear had smaller cameo roles to fulfil but their presence added to the overall picture. The entire company was engaged 
throughout the show singing, moving and interacting together.

It is always a pleasure to attend your performance, it is lovely to see you are a totally inclusive society on stage and the  use of a 
signed performance on a Saturday. I applaud your way of integrating many young members into your stories the skills they learn 
from you and Karnon Kidz develops great stage craft and we all know without the younger members societies would not 
continue. It was also very interesting to read in the back of your programme that y ou have found your archives. I now 
understand why Carnon Downs Drama Group performs in Perranwell.

Many thanks once more for your kind invitation and many congratulations to all the members of your group both seen and 
unseen who work together to create great shows.

Many thanks also for inviting the National President and Regional Councillor, who now enjoys saffron buns, to Cornwall they both 
enjoyed the show greatly.  

Disclaimer 
Any observation made by the reviewer can only be based on what he sees at the performance in question.  The 
reviewer may have received information in advance of the performance and it is inevitable that his assessment will be 
affected by that knowledge. 

The NODA Representative’s intention is to give an objective critique of the overall production and in particular, the 
performance.  It should be remembered that any review of this nature can only be objective as far as the techniques 
used during the performance observed.  Any criticisms expressed may not have been valid at other performances and 
are only made to encourage higher standards in Amateur Theatre.

It is hoped that the audience’s appreciation of your efforts will have given everyone a lift and encouraged you to 
greater achievements in the future and that the observations made by the reviewer will prove helpful in improving 
future productions.

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