Sleeping. Beauty

My first panto of the 2019-2020 season and, as has become tradition for me, I started at Haslingfield Little Theatre, this time with their production of Ben Crocker’s Sleeping Beauty.  From the delightful and warm welcome of the Chairman and Front-of-House staff there was a genuine feeling of everyone working together to make the evening a success. Pantomime takes a large team of cast, crew and helpers to reach the stage and this production was no exception with a cast of around 40 people being ably led by Phil Chapman making his directorial debut.  

Directing a panto is not as easy as some may think as there are many  elements required to bring the whole thing together.  I never cease to be amazed at the wonderful sets created for HLT productions and this year’s were no exception. Congratulations to Prue van de Hoorn, Stuart Emms, Ged Roper & Bob Bradshaw, all the sets were splendid and the set transformation at the end of act one with the castle being overgrown by brambles and branches was impressive.  Special effects and lighting by Mike Bass and Phil Dale respectively and sound by Charlie Smith certainly enhanced the production. Costumes are always good (Terry Baker, Saskia Daw, Diana Offord, Hazel Theobald) and this year’s were first-rate. Props for a panto is always a hard job particularly when you have to find about 20 tankards for a pub scene, but this area was well handled by Hilary Stokes.

The 27 strong chorus, made up of 14 adults and 13 members of Young Little Theatre filled the small stage to capacity; so well done for not stepping on each other as you executed Judith Willows’ choreography.  All the chorus songs were fine but at times a bit more volume, particularly in the opening number, would have been good. 

HLT must have the hardest working musicians in the country.  Not only did Tom Hatfield, John Holmes and James Thomas play throughout the show,  they also entertained the audience both before the show and during the interval.  

Sleeping Beauty isn’t one of the “big four” pantomimes. This is probably because it has a very slim story line and therefore it needs padding out with comedy scenes such as the slapstick Kitchen scene, the Dream and the Nightmare.  These were all well-thought out and although the cake baking had a bit of a soggy bottom the singing and dancing rats made up for it.

The twelve Principals all gave it their all.  I loved the quirky take on the Fairies which were all played with seeming relish by Joyce Dale (Fairy Beautiful), Jacqui Gruby (Fairy Graceful), Marion Campbell (Fairy Thoughtful) and Laura Wylie who did a fine job of keeping control as Fairy Peaceful.

The audience’s friend, Billy (Poppy Shortmoor) was a lively presence throughout and moved the action along nicely.  Hats off to King Norbert played by John Beresford, who had to recite the many names of Princess Aurora, nicely played by Sally Rickets, whose character found a happy ending with an imposing Prince Orlando played by Natalie Gillies.  I had a bit of a problem with ‘the Dame’ in the script.  Personally I don’t think the Queen should be the Dame or the Dame be the Queen.  This character appeared to be an undefined mixture of both. Andy Walker did a good job as Queen Dorothy but the script made it more difficult for him to cover all the usual “dame” elements.  Fiona Haskell gave a charming performance as the silent cat, Kitty.

In a great pairing Judith Brammar who played Carabosse was well partnered with Spindleshanks played by Fiona Musto-King. These two almost stole the show for me.  One of my favourite moments were when Carabosse was strangulating Spindleshanks for both wanting to be the old woman with the spinning wheel.

With some lively dance sequences – including Dreamland, some rats and zombies and great support from the servants and villagers, this was a fun production.  I am sure Director Phil Chapman will be well pleased with his first  foray into directing.  Congratulations to all involved.

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