Puss in Boots

It was a pleasure to return to the Bacup Royal Court Theatre for this year’s pantomime and Puss in Boots proved a lively and engaging choice for the season. From the moment the curtain rose, it was clear the audience were in for a fun, family‑friendly adventure, packed with fantastic performances, big laughs, and plenty of chances to join in.

This classic tale follows the clever, quick‑witted Puss as he helps his down‑on‑his‑luck master rise from humble beginnings to unexpected fortune, outsmarting villains, wooing royalty, and proving that a little confidence, and a very clever cat, can change everything.

What made this production especially enjoyable was the blend of talent onstage. Members of BRTC’s youth societies, All About the Stage (AATS) and Bacup Youth Theatre Entertainment Society (BYTES), joined forces with the adult society, creating an intergenerational ensemble that filled the stage with energy and enthusiasm.

The creative team delivered a wonderfully entertaining evening. Director–choreographer Rachael O’Hara and Director Emmeline Greenwood infused the show with sparkle, pace, and a sense of fun, guiding a cast who were well‑rehearsed and ready for their opening night. They steered the company with assurance, and their thoughtful casting paid off beautifully. Every performer leaned into their strengths, creating a vivid montage of humour, mayhem, and storytelling that kept the audience engaged from start to finish. In true pantomime fashion, even the unexpected became part of the enjoyment. When a backdrop briefly caught on a flat, the technical team reacted instantly, dropping the house lights, the audience responded with good‑natured cheers, and the swift fix only highlighted how smoothly the show ran both onstage and backstage.

The ensemble impressed throughout. They performed with bright smiles, clear focus, and a strong awareness of the stage. Whether they were dancing, reacting, or supporting the main action, they stayed committed and present. Rachael’s choreography gave the ensemble and older youth performers plenty of opportunities to shine, displaying their talent with routines that were lively and full of character. Meanwhile, the younger members charmed the audience with their own number to ‘Things That Go Bump in the Night.’

Vocal coach Gill Richardson brought warmth and clarity to the company’s vocal work, guiding the cast to produce confident harmonies and a well‑balanced ensemble sound. The company’s performance of ‘I Wanna Dance with Somebody’ stood out for its energy and cohesion, lifting the atmosphere in the auditorium. Gill’s musical direction ensured that both ensemble and solo vocals supported the storytelling and enhanced the overall production, The dancers from Dansworks added another layer of polish, especially in the Evil Crowman’s scene, where their sharp black‑and‑white costumes and rhythmic choreography created a striking visual. Their red‑and‑black routine later in the show was equally strong, and the ballet solo brought a touch of elegance that balanced the broader comedy nicely.

Lighting design by Andy Holden, aided by Kobi Motley, gave the show a warm, colourful atmosphere. I particularly liked the darker green tones used for the Evil Crowman; they added just enough edge without being too heavy for younger audience members. The softer blues around Rosie Rags were a lovely touch, and the glitter balls scattering light across the auditorium made the whole space feel magical. The lighting always supported the action without drawing attention away from it. Sound, designed by Gareth Hunt with Tyler Holden as mic technician, was handled with real care. I did not notice a single microphone issue, and the balance between dialogue, effects, and music was spot‑on.

The set, created by BRCT members and managed by Paul Ashworth and his team, moved the story along smoothly. I enjoyed the variety, village streets, forests, a dungeon, each one clear, colourful, and easy to follow. The balloon ride was a highlight for me, especially with the projections of local landmarks. It looked fabulous and the addition of the cast lifting it and their legs showing was hilariously unexpected. The dungeon, with its haunted mirror and spooky portrait, added just the right amount of atmosphere, the dummy in the corner was visually funny and spooky at the same time.

Wardrobe, led by Rachael O’Hara and Emmeline Greenwood with costumes from The Boyz Theatre Costumes Ltd, brought colour and personality to the stage. The ensemble’s cowboy outfits were bright and fun, and the lead characters were instantly recognisable. Puss looked fantastic with the boots and feathered hat, the King had a suitably regal look, and the Crowman’s darker tones and feathered shoulders suited him perfectly. The Dame’s ever‑changing wigs and costumes were a joy, bold, playful, and full of character.

Makeup by Chevonne McCartney‑Williams and Chanelle Pearson added another layer of detail. Puss’s makeup was beautifully done, giving the character real personality. The Evil Crowman’s long beak‑style nose and dramatic lines worked brilliantly, and the King’s exaggerated features added humour without overwhelming the performance.

Catherine Dobson opened the show as Rosie Rags, an enchanted scarecrow who served as both narrator and gentle magical guide throughout the story. As a noble person cursed by the Evil Crowman, she brought a lovely mix of warmth and wistfulness to the role. Her melodic delivery and easy rapport with the audience made her an instantly likeable character, and she helped move the story along with a friendly, reassuring charm.

Daniel Starkie had the audience booing with enthusiasm as he strutted across the stage as the Evil Crowman. He delivered the role with a deep, rumbling laugh and a confidently sinister presence that made him great fun to dislike. His delivery had just the right edge of menace for a family pantomime, and he clearly enjoyed playing up to the audience’s reactions. Every entrance brought a fresh wave of boos, and Daniel leaned into it with relish, giving the show a memorable villain.

Helena Rose Lockett took on the role of Puss in Boots with real confidence and charm. She brought a lovely slinkiness to the character, with cat‑like movements that were playful without ever feeling overdone. Her makeup and costume worked beautifully together, giving her a striking look that the audience at once connected with. Helena carried herself with assurance, delivering a performance that balanced between mischief and warmth, making her Puss a likeable guide through the story.

Leah Fisher played John Miller, the hero of the story and Puss’s loyal master, with a confident and likeable personality. She handled the character’s classic rags‑to‑riches journey with ease, giving John a gentle sincerity that made the audience root for him from the start. Leah built strong chemistry with her fellow cast members, responding naturally in scenes and keeping the momentum of the story moving.

Eloise Whittle brought a lovely warmth to the role of Princess Flora. She had a gentle, appealing stage manner, and her singing voice added a real sweetness to the character without making her feel one‑dimensional. There was a touch of sass and spirit in her performance that gave Flora more depth, and it was nice to see her lean into those moments with confidence. Eloise built an easy chemistry with John, and their scenes together felt relaxed and genuine.

Michael Haworth was a real crowd‑pleaser as Dame Delia Smythe, keeping the audience in stitches with his well‑timed cheeky asides and those gloriously terrible jokes that somehow always land in a pantomime setting. He judged the humour perfectly, just enough playful sauce for the adults without ever crossing a line, leaving the children blissfully unaware but laughing along anyway. One of the standout moments was the DJ scene, where Michael threw himself into the silliness with complete commitment, earning huge laughs from the audience. He embraced every aspect of the Dame tradition, from the ever‑changing wigs to the wonderfully outrageous costumes, and delivered a performance full of warmth, mischief, and charm. He was a joy to watch and an excellent Dame throughout.

Lauren Lockett threw herself wholeheartedly into the silliness of Sammy Smythe, playing the role with a daft‑as‑a‑brush charm that the audience instantly warmed to. As the Dame’s son, Sammy was wonderfully clueless yet endlessly enthusiastic, and Lauren captured that blend beautifully. Her facial expressions were a constant source of amusement, and her comedy timing was spot‑on, landing each moment with an effortless lightness. She brought a lovely energy to the stage and made Sammy one of those characters you cannot help but smile at.

Ellen Rose Pilkington stepped into the shoes of Dotty with gleeful charm, bringing a wonderfully vacant expression and an abundance of enthusiasm to the role. As the lovelorn admirer of Sammy, she delivered long, wistful looks that were both funny and endearing, matching his silliness beat for beat. Ellen created a character full of fun, leaning into Dotty’s name with playful commitment and a lightness that made her scenes a delight. She captured that sweet, slightly scatterbrained energy perfectly.

Gill Richardson gave an excellent performance as the King of Greenacres, bringing a delightful mix of pomp, confusion, and gentle bumbling to the role. She handled the character’s comic bluster with real skill, delivering a stream of mutterings and rumblings that were perfectly pitched and always audible to the audience. Her accent added an extra layer of humour, and she kept a wonderfully regal presence even during the King’s muddled moments. It was a very funny, well‑judged performance.

Carla Kershaw brought character to the role of Edwin, the royal aide who is loyal to a fault and ready to do whatever is asked of him. She played Edwin with a lovely sense of self‑importance, giving the character a slightly puffed‑up confidence that was very funny without ever tipping into caricature. Carla’s performance had a steady charm, and she captured that blend of faithfulness, eagerness, and mild obliviousness with real ease.

Maxwell Hopkinson and Josh Rawlinson made a brilliantly silly double act as Crusty and Dusty Millar the older brothers to John. The pair bounced off each other with ease, playing “daft and dafter” to great comic effect. Their clueless scheming was a running delight, often going hilariously wrong in very physical ways onstage, and the audience responded warmly to their antics. Both performers showed sharp comedy instincts, strong timing, and a real willingness to throw themselves into the chaos. It was a funny, well‑matched partnership that added plenty of laughter to the show.

Corinne Wilkinson stepped into the role of Puss in Boots before the magical transformation with lovely youthful energy and real engagement in every scene. She brought smooth, cat‑like movements that set up the character beautifully for the audience. Corrine stayed fully present in the action, responding naturally to the other performers and adding a bright, lively spark to the early storytelling and provided a sturdy foundation for the magical transition that followed.

By the end of the evening, I left the theatre smiling. This was a colourful, lively production filled with humour, charm, and committed performances from every corner of the stage. The cast and technical teams worked together to create a thoroughly enjoyable night out. Thank you to BRCT for the invitation, it was a pleasure to attend. I look forward to more productions in the future.

 

 

 

© NODA CIO. All rights reserved.