Robin Hood and the Babes in the Wood

It is two years since the last panto performed by Helston Theatre Company and one might believe you’ve spent all the intervening time studying in detail the art and craft of panto, such was the success of Robin Hood And The Babes In The Wood.  The house was almost at full capacity for every performance and the audience for each would have been as appreciative of this hugely entertaining production as on the Friday night I saw it … so you don’t need me to tell you, “Dah-lings, you were simply mah-vellous!”  You’ll have heard it after every showing.  I could write that it was     stunning, amazing, wonderful, etc., it would after all save time, but I don’t use superlatives lightly and anyway they are meaningless without qualification and so I have, for my own satisfaction, and because you deserve it, to spend time composing a well-considered review.

The talents of the three creatives named above came together with an alchemy that resulted in a panto as near perfect as I’ve seen, with the basic elements selected or bypassed with careful deliberation.  What was chosen was presented with inspired imagination of style and character and delivered with energy and commitment by the cast.  There is no credit in the programme for the playwright whose original efforts started the roller-coaster of building what developed.  It was an elegantly crafted script to start with but the task of lifting it from page to stage lies ultimately the director.  I found myself constantly asking, “Whose idea was that … or that?  Was it written that way or did the director say to play it like that?  Did the actor suggest trying this characterisation …?  Whichever and however, the whole team threw themselves into this rollicking romp in a wholly enthusiastic way that captured what panto is all about.  

The first thing the audience saw was an open set and I had time to admire the handiwork and artistry that had gone into the construction of this very professional looking backdrop for the activity to come.  I could believe it was hired, but no - the programme lists the crew.  The flats were the full height of the stage and beautifully shaped and painted to represent the forest, and the backcloth showed a delightful sunlit woodland glade.  The upstage raised level was reached by central steps of chunky ‘stone’, a pattern that was repeated when the Sheriff’s truck (and the Dungeon) came in and linked the whole ‘castle’ scheme.  The design was praise-worthy in both its richness of decor and its practical economy - the trucks and occasional use of black tabs swiftly moving the action from scene to scene.  The addition of benches and a blackboard and desk made a believable Schoolroom on the main stage and that of a bed on half stage was all that was needed for the Nursery.  Oh that bed!  Tell me it was engineered to almost fall apart and the “ad libs” were rehearsed!  If so, huge credit to the actors for so convincingly playing it as a surprise to them.  It is not easy to make that sort of gag work so satisfyingly.  One of the two downstage arches was dressed as a fairy grotto with twinkling lights and gauze.  The entire stage set was a work of art in its attention to detail - like the target emblem above the pros.

Waiting for the start I was able to note the lighting rig, which must be the envy of the majority of amateur societies across Cornwall.  There are not many that can field the number of moving heads you have - I think I counted at least 10 or 12 between parcans or behind runners!  These cleverly programmed lights can do anything and your team was able to make full use of their versatility to create an appropriate atmosphere for each of the scenes using colours and gobos to enhance the full stage, and focus to close down the set for the more intimate scenes.  You even had real follow spots!  What a joy - (my first job in the theatre was operating the limes for the panto at Richmond Theatre when I was 16, I was pink for the Good Fairy.)  Of course, hers has to be mirrored by the stage left spot for the Baddie - so good to see them entering on their traditional sides.  In a small detail Forest Fairy managed to inject the comedy into her puff of smoke entrance.  The finale was supplemented by vertical LED bars above the castle ramparts to add to the spectacle.  

Music is an integral part of panto and I think it’s fair to say that the less skilled groups around default to pop songs; with varying degrees of success.  What this show gave us was a broad mixture of songs from musicals, films, the charts and old time classics, changing styles and tempos and presentation from full company numbers to solos, duets and small groups.  Consequently the ethos never fell into a rut. The input of the occasional recorded track further added to the variety and this was the first time I’d seen Ru Paul introduced to a panto.  Sashay away!  Controlling this, and the microphones, was handled with precision from the desk. The singing from all, needless to say, was first class, with some notable individual performances - in particular I have to single out Dick’s extraordinary Meatloaf interpretation; in the week of the great man’s death Dick’s remarkable voice paid a vigorous tribute to him with terrific comic backup from Nanny.  I Will Follow Him was an exciting company number to close Act One, with its dual tempo, key change and dynamic delivery.  Recognition goes also to the fact that characterisations and mannerisms were maintained during song.  The vocal balance with the small band allowed all the words to be heard.  Hidden above stage right with just a glimpse of the back of a head visible or a hand wave at the end, this tuneful quintet of experienced players knew just how to support the onstage performers with their sensitive accompaniment.  The obligatory song sheet just had to be the Robin Hood Theme and was kept mercifully short but it was fun to be invited to join the Sheriff in his punchy solo I’ll Be Back - da da-dah da dah!

Devising dance for a company of mixed abilities is not easy and I appreciated how well it was  accomplished here.  The rousing opening number with a full stage instantly engaged the audience using movement that was slick and energetic.  This momentum kept going and the Ensemble cannot complain they didn’t have enough to do joining, as they did, in so many of the musical numbers, not least the challenge of the artfully deliberate chaos in Children Of The Revolution, and achieving a peak of teamwork in the brick throwing of One Brick At A Time.  In smaller groups the strong trio in You Don’t Own Me formed a tight ‘50s style girl group that contrasted with the casual changing groupings of the gentler This Land Is Your Land.  One song stood out for me as combining artistic choreography with outlandish comedy.  The parody of Apache in Eternal Flame was unique in my experience and had me spellbound and laughing at the same time.  It was performed so consummately with skill and the right amount of tongue in cheek, and was one of those ‘whose idea?’ moments I mentioned above.  The cast members were well drilled in exits and entrances with no queuing, and the timely appearances of their heads for the running gag, “Phenomenal, na nah na-na nah” was a witty insertion. Onstage fights frequently fail to hit the mark so the slo-mo stave fight was impressive set to a strong rendition of Roar. … Oh, yes, afterthought: congratulations on getting Robin to perform a medieval bow.

Pantomime gives a licence to the wardrobe department to come up with original and quirky costumes for the assortment of characters inhabiting the story.  The residents of Sherwood wore colour schemed oddments in mixed fabrics totally appropriate to the rustic setting and the vague historic era, and the named principals demonstrated their status in suitable garb.  The ridiculously over-puffed sleeves of Robin (Flashheart) Hood’s brocade tunic immediately gave the comedy so admirably reinforced by his whole-hearted delivery, and I loved Maid Marian’s nod to steampunk in her dark asymmetric outfit with tight corset.  Who could not laugh out loud at the hilarious entrance of Nanny McFlurry?  It was sheer genius to bring her in that way so that the glorious posterior was our first sight, with movement choreographed to bring out its full comic potential set to the perfect choice of song. Performed with total passionate conviction it was hilarious.  No other Dame entrance will ever better it!  As befits the Dame she had many changes of outfit, all happily long-sleeved and each relating to her persona in that scene, teacher, nurse - but none could match those buttocks!   I appreciated the cleverness of dressing the Sheriff of Nottingham so splendidly in what looked like an adaptation of a schoolmaster’s gown and, again, full comic value was derived from the guard in armour whose rerebrace fell off.  Forest Fairy was pretty in pink and her fairy lights never failed.  Robin’s Band of Merry Men (and Big Joan), far from being clones in Lincoln Green, showed a spectrum of individuality, while their Gangs depicted through costume where they stood in society.  The Babes’ costumes illustrated their characters with the child-like grumpy reluctance of casual Harry contrasting with Media-Princess perky Megan.  The introduction into the Nursery of toys brought to life demanded a miscellany of outfits; splendid beefeater, spaceman and different animals so fleetingly seen but painstakingly produced.  Dick’s disguise as the Washerwoman was true to the part and just sloppy enough to be Dick at his farcical best.  The Company, to a man, wore appropriate footwear and besides Robin’s bycocket a selection of soft caps, veils, hoods and coifs adorned the heads of almost all.  There were no malfunctions of dress, all allowed freedom of movement and the spectacular green and gold finale speaks of hours of creative stitching. 

Hair and make up play their part in the overall appearance of a show and here was no exception.  For the most part make up was conventional and unobtrusive.  The exception is the Dame who is traditionally highly decorated and Nanny McFlurry wore a pleasingly restrained over the top face rather than the grotesque daubs sometimes seen.  She had several colourful wigs that changed with her costume, all effected without delays to her entrances.  The Sheriff of Nottingham had just the right amount of eye black to distinguish his ‘bad’ character from the hot polloi and Forest Fairy’s hairdo of luminous pink was an obvious well fitting wig.

A team of four take credit for supplying the props; always a more arduous task than initially thought.  Hand props and stage dressing add valuable detail to a show - smaller hand props in evidence were Dick’s tiny suitcase (for no apparent reason but a charming touch), the school bell, the giant teddy, and Robin’s longbow, all of which could be found relatively easily I imagine.  The giant archery target had to be made and the suction-cupped arrows were ingeniously given slow motion flight by hand delivery.  The tip-up bench in the Schoolroom worked magnificently with the cast understanding its use and handling the gag each time with expertise.  Putting Will in a Boris mask for Get The Party Started brought in the element of political comment that was greatly appreciated.  Beyond the Dungeon truck, a brazier with licking flame proved a crafty way to expand the scene by introducing the guards sitting outside.  A soapy sponge in the Sheriff’s face was as near to a slosh scene as this panto came and the restraint lent a sophistication to the show that was achingly funny in so many other ways.  (Basic element carefully bypassed.)

The final word on any production goes to the director whose vision has at last been realised on stage and this director can be exceptionally proud of the finished product.  I laughed until I cried more than once during the extravaganza before me and sat open-mouthed in wonder.  You didn’t miss a trick - from the saucy shamelessness of flamboyant Flashheart (whose idea? … Respect, bro!) to the efficiency of the running gag Phenomenal, the gratifying third thwack of the door against the Sheriff, the choices of when to slo-mo and when to send-up, the brilliance of putting adults in as a Comedy Duo of Babes  … It will be hard to follow this show next year!  Apart from having a sharp-witted script  initially you had a talented duo working with you and the cooperative bond was evident throughout.  Between you the quality of the singing, dancing and acting you drew from your eager cast was admirable.  

 

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