Puss in Boots

South Kesteven Acting and Musical Players brought a welcome sense of adventure to the Corn Exchange Hall with their lively presentation of Puss in Boots, a pantomime that, while perhaps less frequently staged than firm favourites such as Cinderella or Jack and the Beanstalk, offers plenty of charm and theatrical flair. The story follows a clever, quick-witted cat who uses his cunning and courage to help his young master win fortune, love and happiness, outsmarting an ogre and overcoming obstacles along the way. As families filled the Corn Exchange for a matinee performance, there was a palpable buzz of excitement in the air, with eager chatter, rustling programmes and the unmistakable anticipation of an afternoon of traditional entertainment.

At the heart of the production were two strong lead performances from Rowena Roberts as the titular Puss and Emma Raynor as Jack, the miller’s son. Rowena made excellent use of body language, mime and expressive facial work before Puss was magically gifted with a voice, communicating character and humour with clarity and charm. Once given the power of speech, her performance became delightfully sassy yet classy, oozing feline poise and self-assurance throughout. A particularly nice touch came when Puss was captured, hissing and clawing convincingly at the baddies, fully committing to the character’s cat-like instincts. Emma Raynor upheld the pantomime tradition of a woman playing the principal boy with style, commanding the stage with a strong stance and posture that conveyed control and confidence. Her clear ‘London’ accent was well sustained without ever compromising excellent diction, while her superb, energetic dancing and constant smile added to an engaging performance. Emma’s singing was equally impressive, delivering a lovely vocal tone with real power when required.

The royal family played their part in bringing a touch of fun and frolics to the production, with each performer contributing a clearly defined characterisation. Andrew Tiplady embraced the role of Queen Wendy, the traditional pantomime dame, as an overbearing and nagging wife, effectively channelling ‘Elmer Fudd’ by using rhotacism in his speech, turning ‘royal’ into ‘woyal’ and ‘rich’ into ‘wich’, a vocal technique that added a playful layer to the comedy. Unfortunately, the dame seemed to be underused for a panto, which prevented Andrew from developing a strong rapport with the audience that is so crucial to the role. However, he made the most of the silly ‘undressing scene’ and the running gag of trampling over the husband’s speeches proved a reliable humorous device. Mark Saker’s King Wally was a downtrodden, somewhat passive character, but his performance subtly built to a moment of assertiveness, bringing a modest but satisfying arc to the role. Completing the trio, Gabriella Perrin portrayed Princess Esmerelda with warmth and sincerity, offering a sweet and pleasant singing voice that contrasted beautifully with Jack’s, especially in their charming duet.

Tracy Hulme was impressive as Fairy Priscilla, bringing humour, charm and infectious energy to the role. Her exuberant and funny entrances, set to an instrumental version of Wicked’s ‘Popular’, immediately lifted the atmosphere and delighted the audience. Tracy delivered an engaging and likeable performance throughout, playing the character with a constant twinkle in the eye and an assured sense of comic timing. She balanced authority with approachability, creating a fairy who felt both magical and reassuring. Her brilliant bantering in rhyming couplets with her sister, the bad fairy Pernicia (born Patricia), provided a perfect springboard into the antics of the villains and set the tone for the mischief that followed.

Providing a suitably darker counterpoint to the heroes, the villains added colour and conflict to the story, led by Michelle Collins as Pernicia, a role that she clearly relished. Michelle delivered an enjoyable and confident performance which dripped in maleficence and her strong vocal delivery gave authority to her threats. Her wonderfully exaggerated reactions to her ‘boss’, Grimgrab the Ogre, were a particular highlight. Whether sycophantic or outright grovelling, Michelle played these moments with clear intent and a keen sense of theatrical fun. As Grimgrab, Malcolm Ranson brought a loud and boisterous energy to the role of the ogre, projecting a formidable presence that helped make the character feel threatening in the context of the story. His performance added a playful, cartoonish element that complemented the villains’ antics and gave Michelle plenty to react to, helping to drive the action forward.

Although an unusual mix of the ‘Buttons’ type character and silly, villainous henchmen, the double act of Jasper and Jethro added a lively and entertaining dynamic to the production. Paul Butcher and Simon Sleight gave strong performances, demonstrating a good rapport as they bantered effortlessly with each other, giving a pleasing rhythm and pace to their dialogue. Paul’s Jasper was a charming ‘wide-boy geezer’ who interacted well with the audience, ‘chatting up’ the ladies with natural ease. His performance was full of charisma, great comic timing and nice attention to detail - such as wincing convincingly when his arm was in a sling – he was very natural and at ease on stage. Simon’s Jethro provided a contrasting energy, slightly more innocent, and naive. Together, they created a memorable and enjoyable double act that brought humour and vitality to the show; I particularly liked their fun entrance on scooters accompanied by motorbike sound effects, drawing smiles from the audience.

The supporting roles provided steady contributions to the production. Emma Green as Betty and Elodie Collins as Babs, Jasper and Jethro’s girlfriends, delivered pleasant and reliable performances, showing good timing in their interactions with the leads. Alison Kirby as Bobby the Page and Ann Warren as Sarge were competent and clear in their portrayals, helping to move the story along smoothly. The junior ensemble was good, and there were several lovely performances that added energy and charm to the stage. The Ogre’s ‘Feasties’, styled with a playful ‘gangsta’ vibe complete with gold chains and baseball caps worn backwards, were excellent movers and singers, bringing vibrant energy to their scenes. My particular favourites were the members of the ‘Rabbit Gang’, spoofing ‘Reservoir Dogs’ with dark shades, black suits and comically inventive names like Mr Fluffy, Mr Wigglenose and Mr Cheeky-Cotton-Bottom; their precision and humour made them a real treat to watch.

The production benefitted from the steady guidance of directors Phil Briston, Sharon Middleton, and Adrian Worgan, who did very well to manage a sizeable cast of 40 performers. They succeeded in keeping the action flowing, ensuring that each scene was clear and coherent. I understand Sharon and Adrian were responsible for some of the rewritten lyrics to familiar songs; I especially liked his version of ‘Livin’ On a Prayer’ and ‘It’s Sticky’, a parody of Run DMC’s ‘It’s Tricky’. Sharon was also in the choreography team, alongside Darcy Owen and Ann Warren, whose dance numbers added a lively and energetic dimension to the show. Their routines were fun and engaging, even if the stage occasionally felt a little crowded. A particular highlight was the woodland animal movement piece featuring a gigantic carrot set to the ‘William Tell Overture’ - simple, well-executed, and wonderfully enjoyable, showcasing how inventive movement can create memorable moments.

Credit is due to Paul Shepherd and his team for creating some strong and imaginative lighting effects, which enhanced the atmosphere on stage and helped bring the story to life. The sound design was thoughtful, with well-chosen effects and cues that were reliably on point, keeping the action flowing smoothly. I particularly enjoyed the incidental music, including the Stranger Things theme, Firestarter, and In the Jungle, which added fun and energy while complementing the scenes. There were occasional technical issues, such as crackles from the radio mics and moments when the music overpowered the singing, suggesting that either the microphones could have been lifted or the music volume slightly reduced, but overall, the sound contributed positively to the experience.

The visual elements of the production offered plenty to enjoy, with Lydia Henderson and Emma Covill creating bright and colourful backdrops that added vibrancy to the stage. It was a slight shame that a number of scenes were played against black cloths, though this may well have been due to the practical limitations of the space. Props, provided by Christine Weldrake, were appropriate and effective, supporting the action without distraction. Costume design by Alison Kirby included some excellent choices, with particular standouts being Jack’s tunics, the pleasing complementary colours worn by the principal boy and principal girl, and the striking outfits of the bad fairies. Fairy Priscilla’s sparkling pink boots were a real scene-stealer. While I would have liked to see the Dame’s frocks further developed and given a more elaborate finish, the overall the general costume standard was strong. Make-up by Darcy Owen, Matilda Simmonds and Sarah Owen was particularly impressive, especially in the detailed character looks for Puss and Grimgrab.

Finally, credit must go to stage manager, David Weldrake, and his backstage team for keeping the production running smoothly, ensuring seamless scene changes and maintaining momentum throughout the performance. The programme design by Becki Oliver was also well presented and clear, providing a polished finishing touch to the audience’s experience. Above all, this Puss in Boots was a true celebration of community theatre, bringing together performers, creatives and volunteers in a production filled with enthusiasm and heart. The sense of shared enjoyment was unmistakable, with families laughing, clapping and engaging with the show, making it clear that everyone involved—both on stage and in the audience—was having a thoroughly enjoyable afternoon of pantomime fun.

 

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