Rapunzel

St Nicholas Players’ production of Rapunzel was a delightful and entertaining pantomime that captured the essence of what makes this genre so enjoyable, lively performances, humour, a touch of magic, and plenty of audience engagement. Directed by Helen Roberts and Davina Caborn, this family-friendly show offered an evening filled with laughter and heartwarming moments. The production managed to balance traditional pantomime fun with fresh takes on the classic tale, making it accessible and enjoyable for all ages.

One of the most impressive aspects of the show was the ensemble work, particularly the young performers, who were full of enthusiasm and energy. Their interactions with the adult cast members helped create a dynamic and engaging atmosphere that allowed for a seamless blend of youthful charm and seasoned comedic timing. It was clear that the younger ensemble members were thoroughly enjoying themselves, which added a genuine sense of excitement to the performance. Meanwhile, the adult ensemble delivered solid performances that were both entertaining and well-timed, contributing to the overall success of the show.

Among the cast, several performances stood out. Dee Stevenson started the performance well as Fairy Highlights with a wonderful costume, Connor White as Wavy Davy was engaging and did a fantastic job of keeping all ages engaged with his captivating energy. Clara Lane as Rapunzel brought a sense of innocence and vulnerability to the character, while still maintaining the spirit of the traditional fairy tale heroine. The audience could easily relate to Lane’s performance, which struck the right balance between sweetness and strength. Karen Norton’s Witch Hazel was the essential pantomime villain, menacing yet with a comic edge that kept the audience laughing while still fearing her dark powers. With Sorrel and Sage in support played by  Becci Cogley and Emma Tocker-Booth who built a great rapport with the audience of all ages.  Aimee-Leigh Peach as Baroness Borage with Michael Watkinson as Baron Borage were a delight, bringing an exaggerated sense of grandeur and wit to the roles that were comical and captivating.

Mark Hayward, in his role as Dame Stella Styles, gave a standout performance, delivering the comedic physicality and quick-witted humour that pantomimes are known for. His chemistry with the rest of the cast was infectious, and his interactions with the audience were both clever and fun, ensuring the crowd remained thoroughly entertained throughout. Boyes’ portrayal of Sir Percival was both entertaining and endearing. Lucy Harvey’s Romeo was charismatic and charming, while Jamie Beesley’s Fred the Ghost and Nancy Roe, Amelie Howcroft, Lexi Chilvers as ZAP! BAM! And POW! added a quirky touch to the production. Help guiding us through the story was Crystal Ball-Gazer played by Lilly Gornall. Jess Knowles as Michel Mullet and Heather Slonimski as Tressie brought the hair salon to life. Pastor Sellbye is a great character name and was executed well by Helen Roebuck.  

The technical elements of the production were impressive, contributing to the immersive experience of the show. The set design and construction were thoughtfully executed, with clever use of space to transform the stage into various magical locations. This allowed the audience to fully embrace the fantasy world of the pantomime. The costumes, vibrant and full of character, complemented the playful nature of the show and added to the whimsical atmosphere. Lighting and sound were well balanced, enhancing key moments of the performance without overwhelming the action, while also creating the right mood for different scenes, from comical to sinister.

The musical direction by Lucy Harvey was a high point of the production. The songs were catchy and well-rehearsed, adding another layer of fun and energy to the show. The music helped to reinforce the mood of the various scenes and kept the pace lively. Heidi Caborn’s choreography was also a key element, with well-executed dance numbers that were both energetic and entertaining. The choreography complemented the musical numbers, adding visual flair while allowing the performers to shine.

Colleen Pratt’s script was another highlight, skilfully weaving together humour, heart, and a bit of silliness. The jokes and puns were well-paced and accessible to both children and adults in the audience, with some clever moments that had everyone laughing. The plot, while familiar, had enough twists and turns to keep the audience engaged, and the pacing was just right, ensuring there was never a dull moment.

One notable addition to the production was the inclusion of Trish Wright as a BSL interpreter. This was an excellent touch, demonstrating the production’s commitment to inclusivity and accessibility, allowing all audience members to enjoy the performance.

The production’s attention to detail extended beyond the stage to the front-of-house experience. The welcoming staff helped set a positive tone for the evening, and the programme was clear, easy to read, and informative. This thoughtful touch made the overall experience feel even more polished and welcoming.

In summary, St Nicholas Players’ Rapunzel was a thoroughly enjoyable pantomime that showcased the talents of its cast, crew, and creative team. The production struck the right balance between traditional pantomime fun and fresh, engaging performances. The combination of a talented cast, excellent technical elements, and a well-crafted script ensured that the evening was full of laughs, music, and magic. Whether you were young or old, the performance offered something for everyone, and it was clear that the cast and crew had worked hard to create an entertaining and memorable experience for all who attended.

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