Rumpelstiltskin

This was a very clever take on the traditional tale of Rumpelstiltskin, and the flavour of the show was set immediately by the charming three-piece band, their musical introduction sprinkled with snippets of tunes to come. 

The stunning opening number to the strain of “Greensleeves” grabbed everyone’s attention from the outset, and the reading of a short “list of Ladies” in attendance was an effective start to encourage audience interaction.

The King being strapped for cash persuades reluctant village maid Millie to spin his straw into gold. Fortuitously, a mischievous imp turns up to announce that he will perform the task in exchange for her first-born child when she becomes Queen. Millie agrees knowing that she is unlikely ever to marry the King - but of course she does! 

The story veered skilfully from tradition with misunderstandings, kidnapped babies, trial by jury, “near miss” executions, and the usual expected elements of pantomime were included, although some with a decidedly different twist!

The “nappy changing” scene in place of the usual “baking” one was interesting! Some elements might not have perhaps been to everyone’s taste but probably not that much different to rabbit droppings in the pastry!  The schoolroom scene was fun and the exuberant stagehand on the exercise bike, tasked with turning the straw into gold certainly put a different “spin” on things again.

The cast of adults and youngsters played their roles with commitment and sincerity. They interacted well together, displaying their individual characters and were given plenty to do, and there were some excellent characterisations in the principal roles. 

A most impressive King Henry was well supported by the Chancellor, and the duplicitous Prime Minister – all three ladies stepped “manfully” into their roles with the PM gamely performing with a broken foot!

Millie changed magnificently from a gentle warm village girl into an imperious Queen, and another talented lady in the team made a believable Rumpelstiltskin.

Dame Deadloss was played for the most part in typical panto “bloke in a frock” style, but didn’t really need the rather high-pitched delivery, which must have been difficult to sustain. Being alone on stage too can often be daunting but this performer established a warm rapport with the audience from the start although the “Michael McIntyre” pacing was a tad distracting. The Dame was also kept very well in check by her confident daughter Jane, who really was the most sensible of them all!

An hilarious performance came from Blue Lou the Executioner, thwarted at every turn and the moment when he turned his axe into a guitar and rocked away was priceless!

Major Disaster led a motley crew of King’s Men each with their own equally amusing names, Corporal Punishment, Private Ear, Private Parts and Private Eye. Their rendition of The Grand Old Duke of York certainly got the audience on its feet doing all the actions, and there was a delightful moment at the end when they literally let their hair down and danced.

Robust support from the behind-the-scenes team was clearly evident, with effective costumes, lighting, sound, and scenery – the throne was truly magnificent!

There was strong singing throughout, and all the songs were well chosen and fitted perfectly with the story line - the nod to Buck’s Fizz was particularly memorable.

The finale number “Happiness” simply summed up a great show – oh yes it did! 

 

Any observation made by the reviewer can only be based on what they see at the performance in question.  The reviewer may have received information in advance of the performance, and it is inevitable that their assessment will be affected by that knowledge.

The N.O.D.A. Representative’s intention is to give an objective critique of the overall production and in particular the performance viewed.  It should be remembered that any review of this nature can only be objective as far as the techniques used during the performance observed.  Any criticisms expressed may not have been valid at other performances and are only made to encourage higher standards in Amateur Theatre.

It is hoped that the audience’s appreciation of your efforts will have given everyone a lift and encouraged you to greater achievements in the future and that the observations made by the reviewer will prove helpful in improving future productions.

 

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