Puss In Boots

Congratulations to all at Bramley Parish Theatre Players, who continue to provide great entertainment while nurturing young members and providing a valuable performance opportunity in the community. It was great to see so many on stage all having tremendous fun! Yes, there were 40-plus, but the talented Dean Patrick worked his magic, ensuring that everyone was involved and had plenty to do. Chases through the audience and the royal entrance of the King and Queen and Killer Rabbits ensured that the audience was right in the centre of the action. This was a family panto written by Ben Crocker and adapted by Dean Patrick. His adaptation kept things tight and resulted in a balance of story, scenes, sketches and comedy. Panto business, laughs, musical and magical highlights, not forgetting audience participation. Dean added a touch of razzmatazz. Musical Director Emma Smith and Assistant Musical Director Joe Smith filled the show with a good musical selection and interesting arrangements, inspiring confidence and bringing the best out of the principals and ensemble alike. Dean, assisted by Lydia Griffiths, created big production numbers, totally taking advantage of the vast performance space at Leeds West Academy. This can’t have been a simple task, as everyone, regardless of age or experience, was all integrated into the varied routines. A great set of dancers sparkled, yet everyone down to the smallest child shone as well, resulting in choreographic delights. A massive undertaking, but you nailed it. Congratulations to Dance Captain Lydia Griffiths and dancers Jeni Riordan, Cara Griffiths, Matilda Forbes, Hannah Lucasiewicz and Isabel Robinson. Great dancing, including tap, acrobatics and who doesn’t love a high-kick routine? The ensemble of Molly Wilkins, Jennie Wall, Andrew Dyson, Liselot Elliott, Kelsie Cox, Kaitlin Williams, Sam Edwards, Freya Everson, Alexia Gaunt, Casper Gaunt, Keira McHale, Toby Roberts, Chris Jones, Melissa Lightfoot, Francesca Lightfoot and Heidi Stothard all played their part, adding to the spectacle.

Puss in Boots is not one of the most commonly performed pantomimes since the central swashbuckling hero turns out to be the cat, with the principal boy playing second fiddle. However, the storyline makes for a good pantomime since it presents a clear battle between good and evil with, of course, good triumphing in the end. Trevor Smith and scenic artists Hannah Birch and Claire Collins had their work cut out, especially in the second act, creating a striking palace ballroom complete with palace steps, a fabulous royal bedroom complete with beds not to mention the all-important moss mound concealing a rabbit warren and those pesky rabbits. Stage managers Andrew Rowney, Stephen Birch and Trevor Smith had it all under control along with some giant-sized but attractive cloths in the first act. All the scenes were set quickly and smoothly, and the action flowed thanks to design and good organisation.

The lighting was extremely effective and varied, with some lovely special touches enhancing the overall scenic effects well and creating and helping to create the right atmosphere for all the different scenes. The special lighting effects used for both the fairy and the baddie worked well along with overhead jets of smoke and brilliant blinders, making sure the magic transformations surprised. Sound operator Tom Walters and CS Technical UK achieved a good sound balance, as well as interesting lighting. It was a good twist to use torches spookily lighting up the faces for a refreshingly different behind-you scene, which was slickly delivered. Adding to the visual delights, Rachel Emsley headed up a hard-working costume team who, along with Sue Law, Jennie Wall and the makeup team Linda Birch and Geneve Smith, made sure the large cast looked just right. All costumes fitted perfectly and looked good with attention to footwear, hair and makeup suitable for each character. I particularly liked the modern look of the cat and the makeup design, which worked well, helping to highlight the actors' facial expressions. The Dame was suitably outrageous but with a lovely royal touch, and all the crowns and tiaras were just perfect for the various characters. 

A big shout-out to all the cast who knew and owned their roles, as each one gave creditable performances, whether as a named character or in the ensemble. All confidently played and characterised every character on stage and so deserve a special mention. So a special well done to Tina Edwards as Millie the Maid, the scary but fabulous Killer Rabbits, Mr. Wigglenose, Jeni Riordan, Mr. Cheekycottonbottom,  Richard Everson. Mr. Fluffy, Grace Hawkes and the guards Gordon Guard, Richard Edwards, Gertie Guard, Ruth Ritchie, Gladys Guard,  Shelley Everson and Greata Guard, Alice Easter. Yasmine Stevenson as Babs Butcher and Emma Whitehead as Betty Baker entertained wonderfully. 

 

Elle Barraclough took on the role of Puss in Boots with real confidence and charm and proved to be every bit the hero. Elle carried herself with assurance, strong vocals, and great stage presence. Her facial expressions, along with makeup and costume, worked beautifully together, giving her a striking look that the audience at once connected with.

 

Angie Cordingley, as Jack Miller had strong, clear diction and a good voice. She played her role with panache and flair, fully understanding what was required of this iconic character.

 

Holly Smith as Princess Winny was a delight to watch. She was smart, feisty and kind, resulting in a lovely, believable portrayal of a princess. Great rendition of “Shake It Off.” Holly had a good rapport with Angie as Jack, and their voices blended beautifully especially in their duet “As Long As You Love Me.” Kaly Nicholson sparkled in the role of Fairy Priscilla. She exhibited a beautifully measured portrayal of the sweetness and determination that you would expect from a good fairy. Ruby Heward shone as the graceful Fairy Phoebe. The duet “When You Believe” the good fairies sang together was truly beautiful. 

Genevieve Shaw as Fairy Pernicia had an evil demeanor with strong vocals and great stage presence. Were a true force to be reckoned with.

 

Joe Smith as Grimgrab the Ogre gave a wonderfully wicked, commanding performance, perfectly dominating the stage with his own inimitable style. His song “Bad Romance” with the Bad Fairy was one of the show’s highlights, along with “I Want It All.” James Creegan as Queen Wendy was a real crowd‑pleaser and gave a royal performance. Queen Wendy provided a lot of humour in the all too brief appearances. Restricted by the limited script, James made the most of the role and didn’t fail to entertain. With a flutter of the golden eyelashes and a larger-than-life presence, James understands the rhythm of panto perfectly, knowing just when to pause for laughter or throw in an extra knowing look or facial expression. A posh-voiced performance with a good mix of humour, charm, and audience engagement, and James made it look effortless.

 

Richard Corbett, in the downtrodden role as King Wally, knew his place and elicited pity. Richard played the role with great characterisation. There was a good contrast in character when the king finally found his voice, much to the delight and cheers of the audience.

 

Liam Edwards, as Bobbie the Royal Page, burst onto the stage and quickly got the audience on his side and continued to interact well and maintain his engagement throughout the show. This was a performance beyond his years, with Liam already demonstrating his understanding of pantomime and developing his skills of comic timing. He certainly took one for the team, getting soaked through, and he dealt with it well. I’m sure this experience will stand him in good stead for future involvement in panto slapstick scenes. 

 

Adam Rae played the role of Jasper Miller with great energy and was a perfect fit for the role, with just the right amount of cheeky charm. With bags of stage presence, great delivery, and comic timing, Adam’s great sense of fun was infectious, and the audience loved him.

 

Beth Edwards threw herself wholeheartedly into the role of Jethro Miller. Nicely played characterisation.

 

Both Adam and Beth made a good team. They showed sharp comedy instincts strong timing. It was a funny, well‑matched partnership that added plenty of laughter to the show.

 

I loved the striking programme using bold and royal colours. Not only was it colourful but it was filled with information and clear text and quality photographs. Well done, Dean Patrick and Genevieve Shaw.

 

As the president of BPTP, Edward Turner points out in his welcome, a pantomime should be enjoyed together and behind the scenes, and this is just what happened. I have seen this society grow from a small group with little room to move in at St. Margaret’s Church to a large, thriving group performing at Leeds West Academy. A significant number of people work endlessly behind the scenes and contribute greatly to ensure that this show happens and that the society continues to develop by either working front of house, chaperoning, or doing sets, costumes, and makeup, etc. Often the unsung heroes, so it was good to see some of the backstage team’s photos featured in the programme and see their faces. Special shout-out to the backstage team: Trevor, Janice, Andrew, Rachel, Sue, Hannah and Claire Front of House team and Chaperones . Together with the creative team and Dean and Emma’s passion for theatre and community engagement, I am sure that a bright future still lies ahead, and I can’t wait to see what adventures lie in store on “Treasure Island.”

 

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